#the big clock

[nanabansama]

I saw in your other post "Tsukasa looking at Amane in chapter 109" and I was curious, do you happen to have any theory about why Tsukasa was interested in breaking the clock? Or do you have any theory as to why Hanako-kun messed with it so diligently.P. S: I hope you had a good Christmas 🎅

Hi! Firstly, the post you're speaking about was made by the lovely @ tsutsumi-kurose! I highly recommend checking their blog out for more keen analysis on Hanako-kun.

Anyway, to answer your question...let's gather what we know about the Big Clock.

The Big Clock is the school's time itself. Destroying it caused time to stop completely. When Nene encountered Tsukasa via a time rift during the festival, he told her that you could use the clock to travel through time.

This time manipulation stuff appears to be directly correlated to the school. It doesn't seem to affect stuff outside of it, similar to how the Bookstacks only records a person's life during the time they will spend/have spent at Kamome Academy.

That said, we can't know for sure if Amane knew that, so maybe he tried to harness the clock's time powers for something he could never use them for anyway? Not like it matters, since Tsukasa confirmed Amane never managed to manipulate the clock...but I don't know. To have him work so diligently for something that would have never worked? It feels somewhat silly. So I prefer to believe he had a clear, concrete, and most importantly achievable goal in mind.

Basically, what I'm getting at is I don't think Amane was either trying to time travel to get back to the Tanabata festival he spent with Nene-oneesan or to the time Tsukasa sacrificed himself during their 4th birthday. I also have trouble believing he would go through so much trouble on the off chance that his Nene-oneesan happened to attend Kamome Academy at some point, and it also just seems terribly... corny to me? I really hope it isn't the case, it's just kind of sad and embarrassing of him to skip out on his school play in favor of chasing after some girl he met 4 years ago. I'm clearly too jaded for a romance manga why am I even here

But I do have trouble imagining any other reason for Amane to attempt to time travel that is privy to us! It's either Nene or something we don't know yet. Or something concerning Nene that we don't know yet. Either way, Hanako has clearly remembered whatever it was and wants to keep it a secret--which could mean basically anything because he loves keeping things to himself.

(pictured above: the face of a liar)

To answer your other question, I genuinely think that Tsukasa just wanted to destroy the clock because of his innate sense of curiosity. Remember, this is the guy that dissected a fish for no reason other than a desire to learn how it talked. He is a man of science, and sometimes science is blowing things up and looking at their insides. (I think he would enjoy Mythbusters in a modern AU.)

Tsukasa only went through with destroying the clock now because it was the only way to enter the Clock Keepers' boundary. This is the long and short of it and I will remain firm in this opinion until AidaIro confirm otherwise. *clacks gavel*

Anyway, thank you for the ask! I hope you had a nice Christmas too. :]

[filmnoirfoundation]

NOIR CITY D.C. continues today at the AFI Silver Theatre and Cultural Center

with five more classics from 1948.

Tix and schedule: https://bit.ly/44T9FNv

Passes: https://bit.ly/3Z1DQAG

THE BIG CLOCK 12:30, 9:15

KEY LARGO 2:30

THE SPIRITUALIST aka THE AMAZING MR. X 4:45

SO EVIL MY LOVE 6:45

RAW DEAL 7:00

[letterboxd-loggd]

The Big Clock (1948) John Farrow

January 13th 2024

[clarabowlover]

Elaine Riley - The Big Clock (1948)

[eclecticpjf]

Now watching:

[byneddiedingo]

The Big Clock (John Farrow, 1948) Cast: Ray Milland, Charles Laughton, Maureen O'Sullivan, George Macready, Rita Johnson, Elsa Lanchester, Harold Vermilyea, Dan Tobin, Harry Morgan. Screenplay: Jonathan Latimer, based on a novel by Kenneth Fearing. Cinematography: Daniel L. Fapp, John F. Seitz. Art direction: Roland Anderson, Hans Dreier, Albert Nozaki. Film editing: LeRoy Stone. Music: Victor Young. The Big Clock is a satisfying blend of suspense and comedy of the kind often called "Hitchcockian," which usually means it would probably have been even better if Hitchcock had directed it. But since he didn't, it's worth admiring what director John Farrow and screenwriter Jonathan Latimer did with the material provided them by Kenneth Fearing's novel. Fearing had worked at Time magazine when Henry Luce was head of that publishing empire, so it's clear that he had Luce in mind when he created the imperious Earl Janoth, played with mustache-stroking glee by Charles Laughton in the film. So there's a substratum of satire on publishing moguls like Luce -- a breed that still exists in our day, embodied by Rupert Murdoch. (And still attracts satire, viz., HBO's Succession.)  The plot centers on another Hitchcockian trope, the Wrong Man. In this case, the object of suspicion is George Stroud, editor of one of Janoth's properties, a true crime magazine called Crimeways. Ray Milland plays Stroud, a hard-charging journalist who feels trapped in Janoth's empire. Eventually, through a well-set-up series of coincidences, Stroud finds himself investigating a murder in which he becomes the chief suspect, even though it was actually committed by no less than Janoth. There are domestic complications, too, involving Stroud's wife, a thankless role nicely played by Maureen O'Sullivan. The victim is Janoth's mistress, with whom Stroud has become involved because she suggests she has dirt on Janoth that Stroud can use to his advantage. The film handles all of these plot snarls with finesse, one of the rare instances in which knowing whodunit from the outset doesn't detract from the suspense. Censorship blunts some of the edges: In the novel, Stroud's marriage was less happy and his involvement with the victim more intimate. Janoth's bisexuality was also more explicit in the source -- in the film it's suggested when we see Janoth receiving a massage from his bodyguard, played silently by Harry Morgan, who remains a brooding presence in the background of other scenes. The film is enlivened by a gallery of mostly comic secondary characters, including Elsa Lanchester as a giddy artist whose works Stroud for some reason collects.

[wasabi-gumdrop]

local ladies man’s signature move totally useless against autistic monster enthusiast. more on Kabru’s fumble era at 6

[kurbiismind]

Oh hey,

The clock was broken so we had to make do. Though, I think this one still needs more batteries :p

[ for @kartprowler ]

[theshitpostcalligrapher]

WENT INTO A STARDEW FUGUE STATE LADS ITS FOUR THIRTY AM MY SLEEP SCHEDULE IS FUCKED GOOD NIGHT

[egophiliac]

IT'S BUNNY TIME EVERYBODY

(feat. Dilla)

(bugle accompaniment by Yuu)

[filmnoirsbian]

Too many people talking abt Will Sad Gayboy Byers being heartbroken by his unrequited crush on his best friend and not enough of you talking abt how his big brother clocked it immediately and then gave him an impassioned speech abt how he loves him unconditionally and nothing will ever (meaningful eyecontact) ever change that and Will smiling and softly weeping as they hug bc he knows that no matter what he'll always have his brother.

[puppetmaster13u]

Prompt 198

Now Bruce was not expecting to reincarnate upon his death. At least he thinks he died, he’s pretty sure he did. There wasn’t any other reason for him to be a well, literal baby. Around two he thinks, which fits well with the fact that it’s around that time that babies start forming memory recall, if he, well, remembered correctly. 

But while he knew about reincarnation thanks to Shayera and Carter, he’d never exactly given it much thought towards himself. Because seriously, what were the chances of such a thing as him being given another chance? 

So he was quite surprised at his situation, experimentally opening and closing pudgy hands that looked well, just a tiny bit off. He’d never been that pale before, he thinks, even back when he never went outside like, ever. 

He turned his gaze towards the mobile above him with a sort of idle curiosity- a mixture of bats (ha) and other trinkets he wasn’t familiar with. It also caused him to get his first good look at his parent, asleep on a rocking chair right next to the crib. 

Huh. They had the same pale skin he did, albeit in the light it looked like it was slightly tinted blue, and while their hair was white they didn’t exactly look old. They looked surprisingly well rested for raising a toddler too, unless they had a nanny or something similar… He rolled over, managing to very shakily push himself to his feet with the help of the crib. 

Why was standing so hard as a toddler? And why did he have his memories of everything except how he had died anyway? 

His head whipped up from where they were staring at his feet when he heard a snort, finding his parent awake and standing. Somehow silently enough that he hadn’t noticed- or he was that easily distracted by the unfamiliar giddiness bursting in his chest. 

“Morning little bat,” his parent easily picked him up and held him while he inwardly sighed at the nickname. Of course his bat motif would follow him into this life. A low rumbling almost caused him to jump, his body relaxing before he could fully register the sound. The… purring? 

Oh. 

He wasn’t human this time around. 

[filmnoirfoundation]

NOIR CITY: Boston returns to its home at the Brattle Theatre, June 9-11 with eleven films celebrating their 75th anniversaries. FNF board member, film professor, and author Foster Hirsch will introduce the festival screenings. NOIR CITY opens with a double feature of Robert Siodmak's "Cry of the City", co-starring Victor Mature and Richard Conte, and Jules Dassin's "The Naked City", shot on location in New York City, starring Barry Fitzgerald. Five films will run on Saturday and four films will play on Sunday.

Saturday's lineup starts with "He Walked by Night", an influential police procedural, directed by Alfred L. Werker and an uncredited Anthony Mann, photographed by perhaps the greatest film noir cinematographer, John Alton, and starring Richard Basehart. "Hollow Triumph" follows, directed by Steve Sekely, starring Joan Bennett and Paul Henreid. Rounding out the afternoon films is "The Spiritualist", lensed by John Alton, featuring Turhan Bey, Lynn Bari, and Cathy O'Donnell. The evening films kick off with John Farrow's "The Big Clock," starring Ray Milland, Charles Laughton, and George Macready. Henry Hathaway's newspaper noir "Call Northside 777", the first film shot entirely on location in Chicago, follows with noteworthy performances by Jimmy Stewart and Richard Conte.

Sunday begins with a screening of Douglas Sirk's "Sleep, My Love" starring Claudette Colbert and featuring Don Ameche playing against type as a murderous husband. The second film of the day — Preston Sturges' black comedy "Unfaithfully Yours" also features an actor playing against type, Rex Harrison, as a murderous husband. The final evening of the festival begins with Anatole Litvak's adaption of Lucille Fletcher's renowned radio play, "Sorry, Wrong Number", starring Barbara Stanwyck and Burt Lancaster. The festival of 1948 films finishes with a screening of George Sherman's "Larceny" featuring the incredible lineup of John Payne, Dan Duryea, Shelley Winters, and Joan Caulfield.

BRATTLE BONUS: On Monday, June 12, The Brattle has programmed a bonus screening of Anthony Mann's "Raw Deal#. The 1948 film stars Dennis O'Keefe, Marsha Hunt, and Claire Trevor. This screening will not be hosted.Individual tickets, ticket packages, and film schedule are available on The Brattle's website: https://bit.ly/43SPL4O

[movieposters1]

[dae-seeme-rollin]

I'm not sure if this player has a tumblr or a twitter but OP if u are here, thank you- this absolutely made my night EDIT: we found OP!! done by @laithraihan /@/rei_toka on twitter! thank you @namelessgay1 and @wombatfighter13 for letting me know!

[bellshazes]

honestly the most devastating thing about bdubs is probably his gut reaction to many situations that suggests pretty plainly he thinks that if you are great you'll make basically perfect things, which explains why he's awful at critiquing other people's work being way too gentle & equally explaining why he has a self-aware, self-derogatory perfect narcissist bit in which the joke is that he thinks he is perfect but he clearly cannot be because he makes imperfect thing. and you are what you make, what you make is what you are. but it's whatever [dies, badly]