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amtopmthoughts · 5 years

Text

OSCARS

Legenda:

Legenda - Winners I have watched

Legenda - Winners I don’t know of

Legenda - Winners I know of

Legenda - Nominees I have watched

Legenda - Nominees I don’t know of

Legenda - Nominees I know of

1927/28

BEST MOVIE

Wings

The Racket

7th Heaven

= 0

BEST ACTRESS

Janet Gaynor:

for her role as Diane Angela, The Wife in 7th Heaven and Street Angel Sunrise: A Song of Two Humans

Louise Dresser:

for her role as Mrs. Pleznik in A Ship Comes In

Gloria Swanson:

for her role as Sadie Thompson in Sadie Thompson

1928/29

BEST MOVIE

The Broadway Melody

Alibi

Hollywood Revue

In Old Arizona

The Patriot

= 0

Mary Pickford:

for her role as Norma Besant in Coquette

Ruth Chatterton:

for her role as Jacqueline Floriot in Madame X

Betty Compson:

for her role as Carrie in The Barker

Jeanne Eagels:

for her role as Leslie Crosbie in The Letter

Corinne Griffith:

for her role as Emma Hamilton in The Divine Lady

Bessie Love:

for her role as Hank Mahoney in The Broadway Melody

1929/30

BEST MOVIE

All Quiet on the Western Front

The Big House

Disraeli

The Divorcee

The Love Parade

= 0

Norma Shearer:

for her role as Jerry Bernard Martin in The Divorcee

Nancy Carroll:

for her role as Hallie Hobart in The Devil’s Holiday

Ruth Chatterton:

for her role as Sarah Storm in Sarah and Son

Greta Garbo:

for her role as Anna Christie/Madame Rita Cavallini in Anna Christie Romance

Norma Shearer:

for her role as Lucia Marlett in Their Own Desire

Gloria Swanson:

for her role as Marion Donnell in The Trespasser

1930/31

BEST MOVIE

Cimarron

East Lynne

The Front Page

Skippy

Trader Horn

= 0

Marie Dressler:

for her role as Min Divot in Min and Bill

Marlene Dietrich:

for her role as Mademoiselle Amy Jolly in Morocco

Irene Dunne:

for her role as Sabra Cravat in Cimarron

Ann Harding:

for her role as Linda Seton in Holiday

Norma Shearer:

for her role as Jan Ashe in A Free Soul

1931/32

BEST MOVIE

Grand Hotel

Arrowsmith

Bad Girl

The Champ

Five Star Final

One Hour with You

Shanghai Express

The Smiling Lieutenant

= 0

Helen Hayes:

for her role as Madelon Claudet in The Sin of Madelon Claudet

Marie Dressler:

for her role as Emma Thatcher Smith in Emma

Lynn Fontanne:

for her role as The Actress in The Guardsman

1932/33

BEST MOVIE

Cavalcade

42nd Street

A Farewell to Arms

I Am a Fugitive from a Chain Gang

Lady for a Day

Little Women

The Private Life of Henry VIII

She Done Him Wrong

Smilin’ Through

State Fair

= 0

BEST ACTRESS

Katharine Hepburn:

for her role as Eva Lovelace in Morning Glory

May Robson:

for her role as Apple Annie in Lady for a Day

Diana Wynyard:

for her role as Jane Marryot in Cavalcade

1934

BEST MOVIE

It Happened One Night

The Barretts of Wimpole Street

Cleopatra

Flirtation Walk

The Gay Divorcee

Here Comes the Navy

The House of Rothschild

Imitation of Life

One Night of Life

The Thin Man

Viva Villa!

The White Parade

= 0

BEST ACTRESS

Claudette Colbert:

for her role as Ellie Andrews in It Happened One Night

Grace Moore:

for her role as Mary Barrett in One Night of Love

Norma Shearer:

for her role as Elizabeth Barrett in The Barrett of Wimpole Street

Bette Davis:

for her role as Mildred Rogers in Of Human Bondage

1935

BEST MOVIE

Munity on the Bounty

Alice Adams

Broadway Melody of 1936

Captain Blood

David Copperfield

The Informer

The Lives of a Bengal Lancer

A Midsummer Night’s Dream

Les Misérables

Naughty Marietta

Rugs of Red Gap

Top Hat

= 0

BEST ACTRESS

Bette Davis:

for her role as Joyce Heath in Dangerous

Elisabeth Bergner:

for her role as Gemma Jones in Escape Me Never

Claudette Colbert:

for her role as Jane Everest in Private Words

Katharine Hepburn:

for her role as Alice Adams in Alice Adams

Miriam Hopkins:

for her role as Becky Sharp in Becky Sharp

Merle Oberon:

for her role as Kitty Vane in The Dark Angel

1936

BEST MOVIE

The Great Ziegfeld

Anthony Adverse

Dodsworth

Libeled Lady

Mr. Deeds Goes to Town

Romeo and Juliet

San Francisco

The Story of Louis Pasteur

A Tale of Two Cities

Three Smart Girls

= 0

BEST ACTRESS

Luise Rainer:

for her role as Anna Held in The Great Ziegfeld

Irene Dunne:

for her role as Theodora Lynn in Theodora Goes Wild

Gladys George:

for her role as Carrie Snyder in Valiant is the Word for Carrie

Carole Lombard:

for her role as Irene Bullock in My Man Godfey

Norma Shearer:

for her role as Juliet Capulet in Romeo and Juliet

1937

BEST MOVIE

The Life of Emile Zola

The Awful Truth

Captain Courageous

Dead End

The Good Earth

In Old Chicago

Lost Horizon

One Hundred Men and a Girl

Stage Door

= 0

BEST ACTRESS

Luise Rainer:

for her role as O-Lan in The Good Earth

Irene Dunne:

for her role as Lucy Warriner in The Awful Truth

Greta Garbo:

for her role as Marguerite Gautier in Camille

Janet Gaynor:

for her role as Esther Victoria Blodgett/Vicki Lester in A Star is Born

Barbara Stanwyck:

for her role as Stella Martin Dallas in Stella Dallas

1938

BEST MOVIE

You Can’t Take It With You

The Adventures of Robin Hood

Alexander’s Ragtime Band

Boys Town

The Citadel

Four Daughters

Grand Illusion

Jezebel

Pygmalion

Test Pilot

= 0

BEST ACTRESS

Bette Davis:

for her role as Julie Marsden in Jezebel

Fay Bainter:

for her role as Hannah Parmalee in White Banners

Wendy Hiller:

for her role as Eliza Doolittle in Pygmalion

Norma Shearer:

for her role as Marie Antoinette in Marie Antoinette

Margaret Sullavan:

for her role as Patricia “Pat” Hollmann in Three Comrades

1939

BEST MOVIE

Gone With The Wind

Dark Victory

Goodbye, Mr. Chips

Love Affair

Mr. Smith Goes to Washington

Ninotchka

Of Mice and Men

Stagecoach

The Wizard of Oz

Wuthering Heights

= 0

BEST ACTRESS

Vivien Leigh:

for her role as Scarlett O’Hara in Gone with the Wind

Bette Davis:

for her role as Judith Traherne in Dark Victory

Irene Dunne:

for her role as Terry McKay in Love Affair

Greta Garbo:

for her role as Nina Yakushnova “Ninotchka” Ivanoff” in Ninotchka

Greer Garson:

for her role as Katherine Bridges in Goodbye, Mr. Chips

1940

BEST MOVIE

Rebecca

All This, and Heaven Too

Foreign Correspondent

The Grapes of Wrath

The Great Dictator

Kitty Foyle

The Letter

The Long Voyage Home

Our Town

The Philadelphia Story

= 0

BEST ACTRESS:

Ginger Rogers:

for her role as Kitty Foyle in Kitty Foyle

Bette Davis:

for her role as Leslie Crosbie in The Letter

Joan Fontaine:

for her role as The Second Mrs. de Winter in Rebecca

Katharine Hepburn:

for her role as Tracy Lord in The Philadelphia Story

Martha Scott:

for her role as Emily Webb in Our Town

1941

BEST MOVIE

How Green Was My Valley

Blossoms in the Dust

Citizen Kane

Here Comes Mr. Jordan

Hold Back the Dawn

The Little Foxes

The Maltese Falcon

One Foot in Heaven

Sargeant York

Suspicion

= 0

BEST ACTRESS:

Joan Fontaine:

for her role as Lina McLaidlaw Aysgarth in Suspicion

Bette Davis:

for her role as Regina Giddens, The Little Foxes

Olivia de Havilland:

Emmy Brown, Hold Back the Dawn

Greer Garson, Blossoms in the Dust

Barbara Stanwyck, Ball of Fire

1942

BEST MOVIE

Mrs. Miniver

The Invaders

Kings Row

The Magnificent Ambersons

The Pied Piper

The Pride of the Yankees

Random Harvest

The Talk of the Town

Wake Island

Yankee Doodle Dandy

= 0

BEST ACTRESS:

Greer Garson, Mrs. Miniver

Bette Davis, Now, Voyager

Katharine Hepburn, Woman of the Year

Rosalind Russel, My Sister Eileen

Teresa Wright, The Pride of the Yankees

1943

BEST MOVIE

Casablanca

For Whom the Bell Tolls

Heaven Can Wait

The Human Comedy

In Which We Serve

Madame Curie

The More the Merrier

The Ox-Bow Incident

The Song of Bernadette

Watch on the Rhine

= 0

BEST ACTRESS:

Jennifer Jones, The Song of Bernadette

Jean Arthur, The More the Merrier

Ingrid Bergman, For Whom the Bell Tolls

Joan Fontaine, The Constant Nymph

Greer Garson, Madame Curie

1944

BEST MOVIE

Going My Way

Double Indemnity

Gaslight

Since You Went Away

Wilson

= 0

BEST ACTRESS:

Ingrid Bergman, Gaslight

Claudette Colbert, Since You Went Away

1945

BEST MOVIE

The Lost Weekend

Anchors Aweigh

The Bells of St. Mary’s

Mildred Pierce

Spellbound

= 0

1946

BEST MOVIE

The Best Years of Our Lives

Henry V

= 0

1947

BEST MOVIE

Gentleman’s Agreement

The Bishop’s Wife

Crossfire

Great Expectations

Miracle on 34th Street

= 0

1948

BEST MOVIE

Hamlet

Johnny Belinda

The Red Shoes

The Snake Pit

The Treasure of the Sierra Madre

= 0

1949

BEST MOVIE

All the King’s Men

Battleground

The Heiress

A Letter to Three Wives

Twelve O’Clock High

= 0

1950

BEST MOVIE

All About Eve

Born Yesterday

Father of the Bride

King Solomon’s Mines

Sunset Boulevard

= 0

1951

BEST MOVIE

An American In Paris

Decision Before Dawn

A Place in the Sun

Quo Vadis

A Streetcar Named Desire

= 0

1952

BEST MOVIE

The Greatest Show on Earth

High Noon

Ivanhoe

Moulin Rouge

The Quiet Man

= 0

1953

BEST MOVIE

From Here to Eternity

Julius Caesar

The Robe

Roman Holiday

Shane

= 1

1954

BEST MOVIE

On The Waterfront

The Caine Mutiny

The Country Girl

Seven Brides for Seven Brothers

Three Coins in the Fountain

= 0

1955

BEST MOVIE

Marty

Love is a Many-Splendored Thing

Mister Roberts

Picnic

The Rose Tattoo

= 0

1956

BEST MOVIE

Around the World in 80 Days

Friendly Persuasion

Giant

The King and I

The Ten Commandments

= 0

1957

BEST MOVIE

The Bridge On The River Kwai

12 Angry Men

Peyton Place

Sayonara

Witness for the Prosecution

= 0

1958

BEST MOVIE

Gigi

Auntie Mame

Cat on a Hot Tin Roof

The Defiant Ones

Separate Tables

= 0

1959

BEST MOVIE

Ben-Hur

Anatomy of a Murder

The Diary of Anne Frank

The Nun’s Story

Room at the Top

= 0

1960

BEST MOVIE

The Apartment

The Alamo

Elmer Gantry

Sons and Lovers

The Sundowners

= 0

1961

BEST MOVIE

West Side Story

Fanny

The Guns of Navarone

The Hustler

Judgment at Nuremberg

= 1

1962

BEST MOVIE

Lawrence of Arabia

The Longest Day

The Music Man

Mutiny on the Bounty

To Kill a Mockingbird

= 0

1963

BEST MOVIE

Tom Jones

America America

Cleopatra

How the West Was Won

Lilies of the Field

= 0

1964

BEST MOVIE

My Fair Lady

Becket

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

Mary Poppins

Zorba the Greek

= 1

1965

BEST MOVIE

The Sound of Music

Darling

Doctor Zhivago

Ship of Fools

A Thousand Clowns

= 1

1966

BEST MOVIE

A Man for All Seasons

Alfie

The Russians Are Coming, the Russians Are Coming

The Sand Pebbles

Who’s Afraid of Virginia Wolf

= 0

1967

BEST MOVIE

In the Heat of the Night

Bonnie and Clyde

Doctor Dolittle

The Graduate

Guess Who’s Coming to Dinner

= 0

1968

Oliver!

Funny Girl

The Lion in Winter

Rachel, Rachel

Romeo and Juliet

= 1

1969

BEST MOVIE

Midnight Cowboy

Anne of the Thousand Days

Butch Cassidy and the Sundance Kid

Hello, Dolly!

= 0

1970

BEST MOVIE

Patton

Airport

Five Easy Pieces

Love Story

M*A*S*H

= 0

1971

BEST MOVIE

The French Connection

A Clockwork Orange

Fiddler on the Roof

The Last Picture

Nicholas and Alexandra

= 0

1972

BEST MOVIE

The Godfather

Cabaret

Deliverance

The Emigrants

Sounder

= 0

1973

BEST MOVIE

The Sting

American Graffitti

Cries and Whispers

The Exorcist

A Touch of Class

= 0

1974

BEST MOVIE

The Godfather Part II

Chinatown

The Conversation

Lenny

The Towering Inferno

= 0

1975

BEST MOVIE

One Flew Over The Cuckoo’s Nest

Barry Lyndon

Dog Day Afternoon

Jaws

Nashville

= 0

1976

BEST MOVIE

Rocky

All the President’s Men

Bound for Glory

Network

Taxi Driver

= 0

1977

BEST MOVIE

Annie Hall

The Goodbye Girl

Julia

Star Wars

The Turning Point

= 0

1978

BEST MOVIE

The Deer Hunter

Coming Home

Heaven Can Wait

Midnight Express

An Unmarried Woman

= 0

1979

BEST MOVIE

Kraver vs. Kramer

All That Jazz

Apocalypse Now

Breaking Away

Norma Rae

= 1

1980

BEST MOVIE

Ordinary People

Coal Miner’s Daughter

The Elephant Man

Raging Bull

Tess

= 0

1981

BEST MOVIE

Chariots of Fire

Atlantic City

On Golden Pond

Raiders of the Lost Ark

Reds

= 0

1982

BEST MOVIE

Ghandi

E.T. the Extra-Terrestrial

Missing

Tootsie

The Verdict

= 1

1983

BEST MOVIE

Terms of Endearment

The Big Chill

The Dresser

The Right Stuff

Tender Mercies

= 0

1984

BEST MOVIE

Amadeus

The Killing Fields

A Passage to India

Places in the Heart

A Soldier’s Story

= 0

1985

BEST MOVIE

Out of Africa

The Color Purple

Kiss of the Spider Woman

Prizzi’s Honor

Witness

= 0

1986

BEST MOVIE

Platoon

Children of a Lesser God

Hannah and Her Sisters

The Mission

A Room with a View

= 0

1987

BEST MOVIE

The Last Emperor

Broadcast News

Fatal Attraction

Hope and Glory

Moonstruck

= 2

1988

BEST MOVIE

Rain Man

The Accidental Tourist

Dangerous Liaisons

Mississipi Burning

Working Girl

= 0

1989

BEST MOVIE

Driving Miss Daisy

Born on the Fourth of July

Dead Poets Society

Field of Dreams

My Left Foot

= 1

1990

BEST MOVIE

Dances with Wolves

Awakenings

Ghost

The Godfather III

Goodfellas

= 1

1991

BEST MOVIE

The Silence of the Lambs

Beauty and the Beast

Bugsy

JFK

The Prince of Tides

= 1

1992

BEST MOVIE

Unforgiven

The Crying Game

A Few Good Men

Howards End

Scent of a Woman

= 0

1993

BEST MOVIE

Schindler’s List

The Fugitive

In the Name of the Father

The Piano

The Remains of the Day

= 1

1994

BEST MOVIE

Forrest Gump

Four Weddings and a Funeral

Pulp Fiction

Quiz Show

The Shawshank Redemption

= 3

1995

BEST MOVIE

Braveheart

Apollo 13

Babe

The Postman (Il Postino)

Sense and Sensibility

= 4

1996

BEST MOVIE

The English Patient

Fargo

Jerry McGuire

Secrets & Lies

Shine

= 0

1997

BEST MOVIE

Titanic

As Good as it Gets

The Full Monty

Good Will Hunting

L.A. Confidential

= 3

1998

BEST MOVIE

Shakespeare in Love

Elizabeth

Life is Beautiful

Saving Private Ryan

The Thin Red Line

= 3

1999

BEST MOVIE

American Beauty

The Cider House Rules

The Green Mile

The Insider

The Sixth Sense

= 1

2000

BEST MOVIE

Gladiator

Chocolat

Crouching Tiger, Hidden Dragon

Erin Brokovich

Traffic

= 3

2001

BEST MOVIE

A Beautiful Mind

Gosfrod Park

In the Bedroom

The Lord of the Rings: The Fellowship of the Ring

Moulin Rouge!

= 1

2002

BEST MOVIE

Chicago

Gangs of New York

The Hours

The Lord of the Rings: The Two Towers

The Pianist

= 1

2003

BEST MOVIE

The Lord of the Rings: The Return of the King

Lost in Translation

Master and Commander: The Far Side of the World

Mystic River

Seabiscuit

= 0

2004

BEST MOVIE

Million Dollar Baby

The Aviator

Finding Neverland

Ray

Sideways

= 1

2005

BEST MOVIE

Crash

Brokeback Mountain

Capote

Good Night, and Good Luck

Munich

= 0

2006

BEST MOVIE

The Departed

Babel

Letters from Iwo Jima

Little Miss Sunshine

The Queen

= 2

2007

BEST MOVIE

No Country for Old Men

Atonement

Juno

Michael Clayton

There Will Be Blood

= 1

2008

BEST MOVIE

Slumdog Millionaire

The Curious Case of Benjamin Button

Frost/Nixon

Milk

The Reader

= 1

2009

BEST MOVIE

The Hurt Locker

Avatar

The Blind Side

District 9

An Education

Inglorious Basterds

Precious: Based on the Novel “Push” by Saphire

A Serious Man

Up in the Air

= 4

2010

BEST MOVIE

The King’s Speech

127 Hours

Black Swan

The Fighter

Inception

The Kids Are All Right

The Social Network

Toy Story 3

True Grit

Winter’s Bone

= 5

2011

BEST MOVIE

The Artist

The Descendants

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

= 3

2012

BEST MOVIE

Argo

Amour

Beasts of the Southern Wild

Django Unchained

Les Miserábles

Life of Pi

Lincoln

Silver Linings Playbook

Zero Dark Thirty

= 4

2013

BEST MOVIE

12 Years a Slave

American Hustle

Captain Philips

Dallas Buyers Club

Gravity

Her

Nebraska

Philomena

The Wolf of Wall Street

= 4

2014

BEST MOVIE

Birdman

American Sniper

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

= 2

2015

BEST MOVIE

Spotlight

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

= 3

BEST ACTRESS:

Brie Larson, Room

Cate Blanchett, Carol

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse, Brooklyn

2016

BEST MOIVE

Moonlight

La La Land

Arrival

Fences

Hacksaw Ridge

Hell or High Water

Hidden Figures

Lion

Manchester by the Sea

= 5

BEST ACTRESS:

Emma Stone, La La Land

Isabelle Huppert, Elle

Ruth Negga, Loving

Natalie Portman, Jackie

Meryl Streep, Florence Foster Jenkins

2017

BEST MOVIE

The Shape of Water

Lady Bird

Call Me by Your Name

Get Out

Darkest Hour

Dunkirk

Phantom Thread

The Post

Three Billboards Outside Ebbig, Missouri

= 4

BEST ACTRESS:

Frances McDormand, Three Billboards Outside Ebbing, Missouri

Sally Hawkins, The Shape of Water

Margot Robbie, I, Tonya

Saoirse Ronan, Lady Bird

Meryl Streep, The Post

TOTAL = 71/

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thenightmaregrrl · 6 years

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Bruh

So.... Butch Hartman. I grew up with his shows Tuff Puppy and Fairly Odd Parents. When my mom showed me a video of him drawing the main cast of Danny Phantom 10 years later, I got excited, an opportunity to get closer to the guy who helped me shape who I became. Then I saw the clickbaiting and pandering and dropped him like a sack of potatoes. I don’t want that, i’d rather watch Vine compilations and laugh at them than seeing him draw Jake Paul in the Fairly Odd Parents style. Then when I learned about Oaxis. Oh boy did that get me riled up, as did his ‘joke’ about Mary Kate Bergman, his shitting on people with depression or are introverted, his actions back when Danny Phantom was on and his homophobic stances on the fandom and all his gatekeeping that still affects that fandom to this day. He plans on making Oaxis have Christian values, now as I am a Catholic, to me those are don’t steal, don’t lie, don’t cheat on your wife, don’t commit a sin, God loves you and will forgive you for your trespasses etc. If it’s like “Join my religion or else your soul will burn in the depths of Hell!” then fuck that, we already got enough shit on our plates. (Hello Pedo Priests.) He was also vague and withheld info on Oaxis to get more funding for it, which is very Un-Christ like dear brother Butch. I have a feeling the latter is what Butchy here plans to do, call it a gut reaction. Whatever. He says his shows have Jesus in them, then where the Hell was He when Cosmo got pregnant? Ugh, it’s nighttime where I am and I’m sick of it. Sick of people like Butch use religion to further their agenda and make them look good. That’s not a Christian, a Christian is someone who helps you, prays for you, and if you want them to chip in and give you advice. They’ll do it. If you have any bad experiences with Christianity or religion in any way, then I apologize if this seems tone deaf. For guy who ‘created my childhood’ he certainly ruined it.

#oaxis entertainment #butch hartman #tw:pedophile mention

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tempusarts · 5 years

Photo

New arrivals - David Hockney, Banksy, Andy Warhol, Keith Haring

Price: £500 - £5,000

DAVID HOCKNEY - 'A closer Grand Canyon' - hand signed original poster - very large (First edition of 500. Louisiana Museum of Modern Art) https://www.etsy.com/uk/listing/721910652/david-hockney-a-closer-grand-canyon-hand £1,850

ANDY WARHOL - 'Electric chair (yellow)' - rare vintage screenprint - c1971 - publishers proof (Factory Additions/Bischofberger. serigraph) https://www.etsy.com/uk/listing/735736525/andy-warhol-electric-chair-yellow-rare £5,000

ANDY WARHOL - 'Electric chair (red)' - rare vintage screenprint - c1971 - publishers proof (Factory Additions/Bischofberger. serigraph) https://www.etsy.com/uk/listing/735736395/andy-warhol-electric-chair-red-rare £5,000

ARETHA FRANKLIN/WARHOL - hand signed vintage Interview magazine - c1986 (Interview Enterprises, New York) https://www.etsy.com/uk/listing/736248811/aretha-franklinwarhol-hand-signed £500

BANKSY - 'Forgive us our trespassing' - rare original limited edition poster - custom framed (Don't panic. Published by Banksy) https://www.etsy.com/uk/listing/721768712/banksy-forgive-us-our-trespassing-rare £1,250

KEITH HARING - 'Barking dog' - limited edition vintage lithograph - c1982 - custom framed (Edition of 2,000. Shafrazi Gallery, New York) https://www.etsy.com/uk/listing/735596527/keith-haring-barking-dog-limited-edition £650

DAVID HOCKNEY - 'The Diver' - hand signed lithograph - c1972 - large (Extremely rare printers proof) https://www.etsy.com/uk/listing/721304432/david-hockney-the-diver-hand-signed £2,500

ANDY WARHOL - 'Ingrid Bergman the nun' - hand signed lithograph - c1983 - rare printers proof (Galerie Börjeson, Malmö) https://www.etsy.com/uk/listing/721312098/andy-warhol-ingrid-bergman-the-nun-hand £1,650

BANKSY - 'Tesco tomato soup' - rare limited edition print - large (Edition of 1,000. Published by POW) https://www.etsy.com/uk/listing/557017796/banksy-tesco-tomato-soup-rare-limited £1,850

ANDY WARHOL - hand signed original two Dollar bill - c1976 - rare (Pop art) https://www.etsy.com/uk/listing/626859118/andy-warhol-hand-signed-original-two £2,500

shop https://www.etsy.com/uk/shop/TempusArts [email protected] +44 (0) 20 3633 4341

#AndyWarhol #KeithHaring #Banksy #DavidHockney #TempusArts #ArtforSale #ArethaFranklin #IngridBergman

0 notes

ratherhavetheblues · 5 years

Text

CLAIRE DENIS’ ‘THE INTRUDER’ “You’ll never pay enough”

One of the only things I don’t like about the endeavor of Ingmar Bergman, is his hatred of the work of Michelangelo Antonioni. On starting upon fathoming Claire Denis’ film, The Intruder (2005), I was more than pleased to realize that we’re both on the same page concerning this important matter.

It wouldn’t be Denis, if the launch-pad were not brimming with explosives of Bergman’s incendiary theatrical dialogue. But, in our film today, easily 95% of the action proceeds wordlessly. The wiring of Bergman’s film, The Seventh Seal(1957), has been expertly switched on. But, instead of honeys of dramatic sophistication, we end up with wilderness and a ticket to ride. Bergman, himself, was well aware that his disclosures would never reach the terminal decadence of normal respectability. This left him with a paradox which his sensibility would not ignite (on the order of rejecting, repeatedly, an exotic organ—a fully operating heart, for instance). Clearly seeing that problematic, Denis essays, in this production, to liberate the vehicles of acrobatics and juggling (stemming from The Seventh Seal) in a bid, endlessly demanding, to find in her art some life on earth which surfaces more than a few forgettable seconds.

Though it might, were such a thing possible, have him spinning in his grave, our adventure today—in full dedication to Bergman—invokes Antonioni’s L’Avventura (1960). You’ll recall, that The Seventh Seal reveals a medieval Swedish knight, Antonius Block, obsessed with reaching certitude about his eternal soul. As such, he stages a series of chess board events imagined to be opposing him in the form of a black-garbed, pasty-faced personification of death, who has seemingly promised him to open heaven itself if he can defeat the apparition. Thus distracted, Block falls short of cogent animation. True to form, our protagonist, Louis Trebor, a man of our century with great wealth and a track record of distant travels (Block having come to bear as just returned from one of the crusades), has become obsessed with the technology and accessibility of heart transplants.

But, to add to that business, there is an expansion of Block/ Trebor, along lines of a travelling circus player, Jof, the poet-inventor of the beauties of acrobatics and juggling. Jof passionately looks forward to his baby son becoming a tower of those binary skills. Trebor, on the other hand, had fathered a son in Tahiti many (funky) years ago; and now, he too, has become passionate—but simply about finding and fostering the boy, within a labyrinth of years, regardless of performance. (Adding to the distress, Trebor, now living in the French Jura mountain region, hard by Switzerland, has brought there another son, now adult, and married with two young children; and they hate each other, very seldom meeting.) Jof sees an “impossible” and yet quietly desperate exigency reaching the cosmos itself. What Trebor sees comprises the problematic heart of this film.

Louis, when we first see him in his somewhat Nietzschean bailiwick, seems well inured to the monosyllabic priorities of triple-x rurality. What seems to be his theme song, flaring up long before we see him, and ushering in the title, is a sharply clanging, persistent report from out of the Iron Age, recalling, perhaps, the caged witch, in The Seventh Seal, about to be torched for, very ironically, bringing the plague to an otherwise Triple-A health regime. A nudge, toward the days of black-and-white cinematography, occurs in the introduction to the iron-ore-rich rock-faces of his domain. Overtaking (and not well transcending) those rude pasts, we are faced with the man of the hour, a burly Cro-Magnon—nude, in the sun and looking up, and then turning over to hug one of the two identical Japanese Akita Huskies, near a lake embraced by a fine, green forest. Soon he is in the water, floating on his back like a large rodent. The exquisite, Eastern Hemisphere dogs, far more picturesque, and far more resolved than he, regard him from dry land as a primate, loyal but limited. As he proceeds to swim, he soon experiences pain. He favors his chest and the bid for gratifying motion disappears. Back in his cave-illumination cabin nearby, we have a more extensive view of his physiology. His skin is heavily wrinkled, moles of various description abound and a barely discernible five-inch horizontal scar over his heart indicates a bid to undergo unblocking something. And yet, withal, he sports a managerial mane of hair and patrician visage, perhaps the remnants of plastic surgery. Coinciding with this stressful register, while feeding his dogs they begin to growl and he picks up a shotgun and blazes away at something in his makeshift yard.

To anticipate, for the sake of rounding out this rather complicated take-off of non-Bergmanesque conflict (and yet having Bergman written all over it), we’ll take the license of revealing what that firing-range was about. Perched at a border region, Louis, bedeviled enough by personal cares, would be buffeted by the days, and especially the nights, of will-o’-the-wisp illegal immigrants from ancient and dysfunctional lands. (That they would choose Switzerland, the most insular and unwelcoming spot in Europe as a promised land, would seem to be an instance of Denis doing black comedy. On the other hand, however, there will be evidence that at least some of the renegades are terrorists, taking aim against an exceptionally unyielding, wealthy, influential and small infidel. More to that point, we also have the phenomenon of flagellants, from The Seventh Seal, hurling themselves toward punishments in hopes of a heaven to inhabit forever, just as Block tears himself inside-out in order to find assurance that disappearance will not happen. That Louis would, when younger and bolder, have readily shot down such desperation and distraction, is an important ingredient of this mystery. Where we find him, at the outset of the story, he’s neither renegade nor mundane.) Later that night, the dogs are spot on, and he slits the throat of a young man near his front door, which prompts him to check an unused out-building discovered to be used by a terrorist cell. (Revolutionist trespassing of that sort was to reappear in Denis’ film, White Material [2010].) In his skill with the Russian language (due to his upbringing and the source of his vast wealth stemming from an émigré fortune), he reads on a laptop there, “I opt for the emergency solution. The emergency process is underway. The surcharge is to be paid upon your arrival…” Linking as in a dance of death, we have had in the film’s prologue the deceased’s associate, a young woman, who lights up a cigarette and who gets the show smoking with the home truths of her oracular, witch-like pronouncement: “Your worst enemies are hiding inside…in the shadow…in your heart…”

Terrorist insurrection is, in fact, far down the list of our protagonist’s interests. Since we have to beat him up quite a bit here, let’s give him some credit owing. A narrative aspect looming large is that long-ago trip to Tahiti where he produced a child, only to bugger off. Give him some evidential credit, however, that his rich-boy wondering (from a lineage of ease and glittering appetite, like a hereditary knight) entailed a concern to put it right, however messy, with the world—no small motive, especially where the “respectable” smarts and solicitude constitute a non-stop neutron bombing of intrinsic grossness, middling radiation, in lieu of real intelligence and real love.

Though virtually alienated from his son nearby, Louis frequently communes with atmospheric heights and his almost mystical dogs. (That his home is a grotty shack, speaks volumes about his being overwhelmed by the work at hand. He has a woman friend, who ferries to him his steady doses of heart medicine, she being a pharmacist; and, though lovemaking is a care, impotence rules. She, too, has many black moles on her face and body, whereby the aforementioned plague—so salient, in The Seventh Seal— makes headway.) Trebor has a near-neighbor, a young woman, always dressed in Hermes apparel (presumably some kind of environmentalist), who breeds large, Western Hemisphere, huskies. On the first meeting we see of her, our ailing think-tank addresses her, “My respects to the lovely otter of the valley.” (In this quip, he poses the possibility—driving him crazy, in fact—of being a denizen of two dimensions [land and water]. Her upper front teeth are far apart.) One look at the hate in her eyes, as she laughs off Louis’ mockery, and you know the woods have been intruded with one more poison. She feeds her large pack with top-of-the-line steaks and pork tenderloin, perhaps having overbought viewings of the red queen, in Alice. Slipping into the role of the Mad Hatter, he soon invites her to look after his dogs, while he’s away, permanently away, in fact. Her succinct response gives her a T-bone steak meal, to wit, “No, they’re as crazy as you are!” Showing what he’s made of, at this juncture, Trebor suspends the pet care after that one rejection. (In addition to the setting in relief how our protagonist envisions priorities, the abuse of dogs happens to remarkably galvanize a sizeable constituency of indie/ avant-garde filmmakers, including Denis, who apprenticed with that patron saint of the movement, namely, Jim Jarmusch, whereby, for instance, in his film, Patterson [2016], despite a large majority of effete, Humanities viewers swooning over laughable poems by the protagonist, the neglect of his dog is where the action is. Similarly, with Kelly Reichardt’s Wendy and Lucy[2008], the future of the abandoned Lucy, the golden lab, is far more to the fore than that of petty Wendy. Note, though, that here the abandoner, not much of an aristocrat, still needs to be watched closely.) That Iron Age chime fills the air, as the Zen siblings haplessly chase his car headed for Geneva and his bulging safety deposit box, with the first point of the agenda being, ironically, an improved heart.

A heresy for Bergman’s engine, but not for Denis’, is the full-scale resort to the lovely and loving surround, making a valuable point without a word. As the dogs, Toti and Sligo (the latter name recalling a Spaghetti Western), follow their dream which has become a nightmare, the greenery along the winding country road in mottled sunlight becomes a blur, a form of strange action, more landscape than Lassie. There is also a trumpet motif, along lines of taps. A cut from them to Trebor, in close-up profile, sees him gloomily peering into the rear-view-mirror. A second cut finds him now in silhouette, falling, by visceral means, into the beginning of an eradicable death trap. Outside the window, there appears a farmer in his pasture, with some cows and a scythe.

Coming to us in a supplementary manner, there is Trebor’s tangential relatives, first glimpsed in the form of his daughter-in-law, on the job as a customs inspector on the Swiss border, with a specialty of deploying a golden retriever to find illicit drugs. “Search! Search!” she calls, as the gentle beast goes to work. “He found it! Good boy!” she sings. She hugs that partner and dances around the car in a victory lap. We subsequently never see such joy within her family. Her stay-at-home-husband attends to the children correctly, but very low-key. On her return from work he seems starved for incorrectness—a sinister spate of Gothic, the context of Block. “You’re in a fir forest. It’s dark… You’re throat is tight. You’re on a hunt… You’re not well. Which is why I’m here. That’s my job. I’m going to count…”As he counts, he undresses her… She cries in pain when he enters from behind. “Search!” it seems, has something to do about transcending a disappointing planet. (And all this comes about without sophisticated theatrical dialogue.)

Someone else who didn’t—for a while, anyway—underestimate hugging his dogs was Louis, finding far more sustained buoyancy in them than ever occurred in long-ago Tahiti. Moreover, the accoutrements, of rich green saplings and hoary tree-trunks in the Jura risk-taking, would constitute a nagging vision about something missing. We see him cycling in the splendid hill country on a chic bike in chic apparel; and there is a remarkable spate of downhill cruising amidst a startling fertility being overtaken by inertia. The plunge of the hard kinetic is, it appears, no match for the ease in abundance.

The layering, in the service of reaching a position which will not rot overnight, might come to a clarification of sorts, by fleshing out the customs lady’s dilemma. Like the son of protagonist Borg, in Wild Strawberries (1957), who has been weighted down by a death-wish, the grown son of Louis, constitutes a range of motion spanning, badly, the universe. Not until our protagonist was about to leave the Jura redoubt for hopeful repairs, do we realize that the joyless first responder had been an adjunct of his father’s safari to a carriage-trade spa. Whereas, in those days, Trebor was open for what he could find, his stringalong son, by all accounts, could not thrive upon Bohemian exigencies. The latter bumps into Louis during his last-minute shopping preparations for leaving France forever. (Louis XVI made it that far; and then he was captured and guillotined.) The estranged son glares at the life-long student/ elite, and declares, “I recognized your car.” “Taking a walk?” the uncomfortable chit-chat runs. “Sure, I have nothing better to do,” the snotty ironist flicks out. This draws from patrician-Louis, “I’m out of cash right now. I can’t help you” [this clearly the only thread remaining between them]. The baby-sitter argues, “I haven’t bugged you too much till now.” “Things are tough for me, too, not just for you,” the imminent exile, recent murderer, and major surgery subject declares. The wife and exponent of “Search!” comes along, and it’s clear the grampa doesn’t even know the gender of the quite recent baby. That the woman’s name surfaces—Antoinetta, in fact—fills out the conflict area of this non-family. (Marie-Antoinette having been Louis XVI’s queen and been also executed for being out of step of a wave of the future.) In the background, there are two shops, easily recognized: a shop of antiquities; and a shop of jewelry. The new baby has been called Louis. “Like you,” the mom, mentions. “Really!” the travelling man exclaims. He touches his namesake’s hand. As a result, Louis changes his tune: “Look, son… Here [comes to light a wad of bills]. Let me hear from you, from time to time’’—that being exactly the phrase used by Borg, in Wild Strawberries, as the trio of hitch hikers, only coming into view that morning, to disappear forever, hit the road. Borg displays resilience, generosity and depths during his saga. Louis evinces an aristocratic imperative; but, like his ancient namesake, he lacks the gravitas to be more than a warning. His final action here is to commandeer a croissant from the busy and fed up couple’s shopping bag. After all, he paid for it! Like the demoralized “magician,” in Bergman’s The Magician (1958), Louis, with hard and self- lacerating eyes, says good-bye. “What a lunatic!” his son growls. (The sneering breeder of the dog pack also regards Trebor as “crazy.” Her closing the film with a team of obliging sleigh-dogs reminds us of Death, leading the knight and his retiring retinue, in The Seventh Seal.)

In the course of fetching a heart transplant—the first step being chic Geneva, where an agency promises to deliver like a Swiss watch—Trebor, parked by the car so ardently invested in, now in a suit and white shirt, shaves as the sunrise itself arrives to do more than Switzerland, if only given a chance. To pass the time he buys an expensive watch. His first choice (rather old-fashioned) is countered by an erudite woman-retailer, who points out, “This is much more contemporary…Dauphin hands…so it has the Geneva Quality Hallmark…With this watch, you can admire the beauty of the movement…” Contemporary movement does not reveal its mysteries to semi-effete softies, those turning away from an alloy of hardness and deftness and joyousness. (The Dauphin touch involving the heir apparent to the French crown.) Just before this discharge of irony, there was a cut to the Jura-border where a military unit was intent on justice. Also in the area were Louis’ dogs, looking in a patch of garbage to find a means of survival, a means of holding on to a justice far more germane, far more contemporary. A series of rifle shots gives them a start—the last we see of them in real-time. A site of acrobatics of various kinds.

After a cordon bleu dinner, Louis, the sputtering king, falls asleep in his palatial hotel. And he dreams. He dreams that two young riders, a woman and a man, gallop across a snowscape, on top-of-the-line horses. After a period of dynamics, more technical than true, we see that they are dragging a figure across that terrain, Louis, in fact. Battered and bloodied, he dies soon after they pause to see how he’s doing. Before he dies, he tells them, as he might have told his rather distant relatives, “I already paid.” The young woman replies, “You’ll never pay enough…” On waking up, he pulls out from the bed table an expensive dagger. He places it under his plush pillow. And in doing so, we have Borg, the protagonist of Wild Strawberries (1957), coming out of a nightmare showing himself in a coffin. In being thus frightened, he opts against a scheduled plane ride. The dagger is Louis’ insurance, as tangled up in the vicissitudes to come. He holds his heart. Skipping from nightmare-to-nightmare, he wakes up in snowy Seoul, Korea, where his new heart (pointedly a young man’s heart) has been installed. He had dreamed of his dogs, scavenging in the snow, and being brought by a young woman (in a huge overcoat carrying a huge shotgun) to Louis’ abandoned cabin. En route, she clears away some snow on the ice of a lake. This reveals Louis’ dead face. Once again, the Bergman coffin comes to bear. And the time-pieces in Geneva recall time-pieces without hands. The Borg who choked, pulled himself back from that weakness and went on to a breathtaking moment of vision. Our protagonist today has reached a moment of irrevocable farce, with no Jof and Marie (from The Seventh Seal) to lift the mood. (The conclusion of the Korean nightmare entails the over-sized young woman smashing her way into Trebor’s redoubt, sensually having a bath with the fireplace licking; and then being seen to have been butchered by two men resenting her contemporaneity and dumping her out in the yard as positioned upon her now-bloody coat. There is a pan shot of a blood-red heart resting on an expanse of ice. One of his hungry dogs begins to eat it. Fear, paranoia and guilt. From here to the end, atmosphere carries the show, theatrical drama recognizing its limit in contemporary movement.)

Even before the nightmares, skittish, soft and threatened Louis, would have begun a dash to the totally (and monied) mundane, in the form of a return to Tahiti to shower riches (and what he could imagine to be love) upon his elusive son (elusive, sort of, like the elusive debutante, in L’Avventura). Shrugging off the less than stellar performance of his new heart—the quality-control nurse being sensitive but blind—he purchases a large freighter at Pusan, Korea, not the bathtub toy he might have provided years ago, but now an inroad to easy street, for the boy; and a pedestal for himself. A trademark of Denis’ mise-en-scene, consists of a naïve painting acting as a logo for an outrage. Here that factor, from a shipping company brochure, deploys the toy-like attraction in a rather wry mode. Cut, then, to the real craft at its christening with the traditional champagne smashing upon the prow. What isn’t traditional is a ragged rendition of the Eisenhower-era pop-song, “There’s No Tomorrow.” (The preamble to the ceremony has included Louis, in a kimono, being on-hand to see, as best he can, a striking passage of black-ink-like waters rippling uncannily. Before that, his kimono was playfully pushed by a sea breeze in brilliant sunshine. What could have been a fine spectacle, a giant globe being exploded and discharging a blizzard of confetti, along with brightly-colored streamers dancing in the wind, fails to soar, for a lack of nuance and pacing. Acrobatics going every which way, due to the absence of a pilot.)

That night, he’s in a bar alone, and a drunk young man comes up to his table and tries to sing the Elvis song, “Are You Lonesome Tonight?” This brings from both of them a brief homage to the King. Outside, on a dark street with some neon signs, he’s stalked by the Geneva woman who had kicked things off for the surgery. In return for his anger, she tells him, “Your heart is not sick anymore. It’s just empty.” There is, then, a cut to another predator, the son in France with a family living in an apartment block resembling, from the outside, a jail, who invades Louis’ cabin and reads drafts of letters he had sent ahead to Tahiti. “Beloved, Son, how I’ve missed you. I was absent from your life for so long. You’ll see, I’ll make it up to you… Every day that has kept us apart weighs on my heart like an entire year…” Such maudlin sentiment for a chimera, whereas the flesh and blood means nothing! The terminally depressed dad had failed in Trebor’s own eyes, when the latter could still care about going for broke. As “just empty,” our failed monarch would be no longer looking for substantive quality.

Gaugin came to and stayed in Tahiti for many years, closely pondering the mysteriousness there. Here Denis gives us her sense of what Gaugin was getting at, by way of the camera work and the sound design of her film. Young Trebor, escaping the chilly, grotty and annoyingly egalitarian Russia of his youth, and now leaving a parody of a paradise in the capital city, moves on to the island where he imagines having made an impact. Indigo seas and closely matched skies with lilting progressions, welcome the freighter and its crew and its owner in terms calling out for appropriate response. The prospect, from Louis’ fixer-up of a home, shifts into 1950’s post-card styling (reverting, that is, to the logo). With sensuous resources of real frappe in play, the kitsch is almost as painful as the winding down of our protagonist’s warrantee of Swiss perfection. He is told by many of the residents that he doesn’t belong here, and that the boy is seldom seen; but that doesn’t prevent them from putting on a meat market to find a plausible “son” and then grab the crazy give-away and distribute it to the village. The interviews run in this way: “He looks a bit like a white man…” “Too short… A midget’s bigger than him…” “This one’s a bit too slanty-eyed. He looks Asian…” “Too Short and too fat…”

With ailing Louis first bedridden, and then hospitalized, a guy comes by and asks, “I hear you’re looking for a friend. I think we can do business.” Louis tells him, “Toma, you don’t belong here.” And he hands over to the most recent predator a roll of bills. Cut to Toma, on the street; and along comes a guy with a Santa Claus hat. (In Wild Strawberries, a science-lover shows his hatred of the poetic by making an equivalence between God and Santa.) Back at the hospital, a nurse tells him, “Make an effort. Don’t let yourself go…We’ll wash you up. You’ll be fine. You can’t be seen like this…”

Cut to the Swiss gold-digger—or, more accurately, her silver-grey silky dress, displaying the elegance of the subtle patterning of the design, and its textural fluidity. She may be just another write-off; but her outfit is something else, something not only transcending, “You’ll be fine,” but lighting up the cosmos, susceptible to small attentions and large attentions. The cleaned-up washed-up does, finally, find the long-lost son, on a slab at the local morgue. The latter’s chest shows that he, too, had experienced a failing heart-transplant. (The polished, gun-metal, contiguous grey panels, each containing a corpse, recall the linked, dead souls dancing along with the apparition of Death, in The Seventh Seal.)

There are unimpressive dogs lolling around the precinct of the morgue. Then there is the freighter-guy directing a backhoe carrying a coffin onto the deck. Then, now off-shore, there is another moment of something else. In very dark cloud-cover, the hills and the lost forests of the islands stand motionless. And the sky is a calm riot of greys and blacks and whites of the most fervent engagement toward those who die. There is, once again, the urgent clanging, soon joined by those taps we heard as Louis’ dogs were thrown to the wolves. Then a cut to daylight and the chairman of the fleet lolling on a futon and giving instructions to a young deckhand. The destiny of the second-best; the execution of a minor soul being overshadowed by his betters.

The last note swings back to snowy, hilly France, where Louis’ former neighbor and enemy has put together a well-fed sled-dog team which she might have been cued-up for by way of a glossy magazine. (The instance of Jof and Marie, in The Seventh Seal, and their breakaway, puts to shame this new-age nonsense.) Her single-minded acrobatics shows in the hatred of her eyes while smiling at and cheering the dogs as they thrust through deep snow on a sunny day. (Failing to juggle toward humans being not a prerogative.) She’s dressed for a Hollywood Arctic saga where the snow would be fake. Despite her elaborate silk blouse, carefully exposing her chest, and Parisian bomber jacket, she wildly lacks credibility as a dynamic force obviating a pack of careful bores. She becomes on track to represent yet another factor of Death, whipping along a gullible company.

Antonioni well knew about such dead-ends. And his architect instincts knew where to find a source to deal with them. Within the acrobatics of those knowing about tempering a slide, the upsurge of pristine physicality constitutes a treasure of incomparable stature. Denis, a formidable exponent of the history of cinema, has embedded, within her filmic conundrum a horrific defeat, and a pathway of rich playfulness.

At the outer limits of this transaction she has boldly, first of all, as noted, concluded the dream of the woman-intruder into his place in France being butchered by two of the intruders teeming, presumptuously, at the Swiss/ French border. Later in this back-and-forth, the surly boy/ father—not in a dream—prowling around the interior of Louis’ cabin in hopes of plunder as a respite to baby-sitting, notices a bloody wrist-band which figured in the nightmare of the big-coat/ body-bag; but it would seem, not to be in real time. How did that brutalist-style accessory get back to the mundane residence? Louis’ terminal dream would—wonders never ceasing—touch upon the ground-work of violence whereby nightmare and reality reach a continuity that will never leave us. What else will never leave us is intruders into the fantasy of immortality, more or less unwittingly declaring war.

#claire denis

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yamila1044 · 7 years

Note

🎥, 📺 y 📅

🎥 - Top 5 favorite movies?

Cowboy B*bop, At*nement, Stella (2008), Scott P*lgrim vs The World, The Boat that Rocked.

📺 - Top 5 favorite TV shows?

Trespassing Bergman, documentales de arte/ arquitectura/ historia..., M*TV Hits, no miro mucha tele ):

📅 - Favorite time of the year?

Cuando tengo plata ah re(?)

#Ask #gracias por ser un encanto de persona 💕

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theliterateape · 4 years

Text

As Vegas Re-opens, The Old Scams Are the Best Scams

by Don Hall

With every potential crisis or societal upheaval there will always be those happy few who see each one as an opportunity to fleece the rest of us rubes. I remember in late 1999 the hucksters promising software to prevent Y2K from ending the computing world — for a fee, of course. I recall the snake oil types selling “pieces of the Twin Towers” days after 9/11 as well as loads of tiny American flags.

This isn’t anything new. There will always be the shysters using tragedy or spectacle to make a buck, to scam those who have enough to be easily fooled. Scams are as American as baseball, apple pie, and structural racism.

The pandemic has its unique set of grifters, selling poorly made face masks, faulty COVID tests, and even our glorious Commander-in-Chief trying to pump up some of his stock by touting malaria medication as the cure-all.

In Vegas, we’re a little more used to the swindle given Vegas is built upon its very own set of flimflam designed to distract you with booze, neon, and tits so you lose the mortgage on your house chasing a hand pay.

✶

Attached to the casino is a Days Inn hotel. It’s not high end but it’s clean. After two and a half months of deep cleaning, painting, and regular fumigation, it’s really clean.

When I get called to the room to handle a “guest opportunity” (casino code for “problem to be solved involving tact”) and the guest in question stands in his doorway, complaining that his room has bed bugs, the whiff of bullshit wafts into the desert air.

“This door can’t be locked from the inside. This is unacceptable. And I laid down to take a nap and there are bed bugs. I used to be a health inspector so I know bed bugs when I see them. Look at this door lock. It can’t be locked, you see? I can’t believe this. It’s terrible to come to a hotel and not be able to lock the door and also lay down for a nap and get bitten by bed bugs...”

The hotel is only 30% capacity due to COVID restrictions so I know we have plenty of empty rooms. I listen and give him no reaction (easy with the mask on). He’s very upset. I ascertain that he has paid with reward points so a partial refund isn’t going to work.

“Let’s move you to another room. We have rooms that have been deep cleaned and fumigated and have been sealed since, so we’ll move you to one of those. Sound alright to you?”

“Can I get a suite?”

There we go. “Let me check if one is available. I’ll be right back.”

A suite is available. My gut tells me that now, having been given a taste, he’s going to see how far he can push it and I’m right.

“It’s a suite, right? And I’m not being charged for it, right? I’m staying for three nights. I won’t have to pay for them now, correct? I mean, this is horrible to have bed bugs. I’d hate to put this kind of thing on social media...”

“Tell you what. For right now, let’s move you to the suite. I’ll have Eco-Lab come out this afternoon and go over the room. If they find bed bugs, I’ll be more than happy to comp your entire stay. If, however, they do not find any trace of bed bugs, we’ll charge you for the upgrade today as well as the remainder of your stay at the suite rate. Sound fair?”

He starts to protest and I hold up my hand as I speed dial Eco-Lab. “Hey. We have a complaint of bed bugs in Room 601. Can you send somebody over today to do a sweep? Yes. Just looking for confirmation of infestation. If there’s no infestation, the guest was mistaken and that will influence further charges. Thanks.”

The next day, I find out he has used his story to get a free meal and asked for another free night because his remote control wasn’t working in the suite. Eco-Lab had come and gone leaving me a detailed notification. Results? No bed bugs. As promised, he is charged for the full deal. I even charged him for the meal.

The game is actually very simple.

- Have in mind your endgame. What is it you want out of your ruse? - Over-dramatize the injury. Warm up with small inconveniences then bring out the True Injury. The more aggrieved you are, the more visible pain you can demonstrate, the better. - Push out beads of victim sweat and threaten to expose your victimization to other potential customers. - When the rube is ripe, go for the ask.

“Hey! HEY! Manager! Hey!” and she snaps her fingers at me.

I’m used to this at this point so I don’t get ruffled.

“I hit the Aces with the side bet and it did not pay me! This is a rip-off or a broken machine or something!”

Modern slot machines are all computer-based so I pop my key in, turn it to diagnostics, and look at the last game played. There are no Aces.

“Hmmm. It doesn’t look there were any Aces on that last play.”

“Well, I played them! Who you gonna believe, the customer or the machine? This is fucking crazy!”

I move the curser over and check the last five games. Still no Aces.

“You calling me a LIAR? This machine is racist!” and she pulls out her phone, points it at me, and starts recording.

“You gonna be on YouTube! This manager called me a liar because I had Aces and it won’t pay me. He says there wasn’t no Aces but that’s some fucking shit!”

I don’t respond. I learned a long time ago that fighting back or defending yourself in this scene is the absolute worst thing to do. I gesture to the screen.

“If you’d like to film the last five games, I’m glad to run them for you for YouTube.”

She steps in. “Don’t get in my personal space! This manager is getting on up on me and I’m not having it! Back up offa me, motherfucker!” By now, her commotion is so loud, two security officers begin to approach. I wave them off. The presence of security officers is only going to escalate this.

“What’s your name? Why won’t you tell me your name?”

“My name is Don Hall.”

“Why you so racist, Don Hall?”

I simply stand there. The less I react, the better.

She holds court, narrating her video about the racist manager and his cheating machine for about a minute. The camera is fixed on me the entire time. Like Ingrid Bergman at the end of Captains Courageous I show no emotion. No defense. No explanations. Nothing. It’s really dull YouTube fare, I figure. I’ve watched enough Public Freakout viral videos to know juicy TV from dead stick.

Finally.

“Are you gonna give me my money?”

“No, ma’am.”

“Can I get some drinks or something?”

“No, ma’am.”

“I’m never coming back here, you racist!”

“I’m sorry to hear that. Have a fine day!” and I begin to walk toward the exit, gesturing her in that direction.

“What? You kicking me out?”

“No, ma’am. I’m indicating to you where the exit is. If you continue to yell in the casino, I’ll ask you to leave. Should you refuse, our security will escort you off the property. You can choose to keep yelling and will no longer be allowed to stay or you can chill out and try to win some money. The choice is entirely yours.”

“This is some bullshit.”

She puts the phone away. She walks to the ATM and gets some cash. She sits down at a Buffalo slot machine and pumps in $20.00. I send over a cocktail waitress and comp her a drink. I figure $20.00 in play and the entertainment was worth a free cocktail.

✶

While annoying because one would love to trust the fellow man, I still have to kind of admire the chicanery involved and the imagination employed to truly spin that tale of nonsense in order to get something for free. I can’t blame someone for using the current fears of the day to finagle a few bucks. I could be wrong but I imagine that in 1918 there were entrepreneurs selling cures for the Spanish Flu in glass bottles and the bunk of the bunkers during the Cold War was a racket to behold.

Without the eager willingness to be taken in by so many, these Masters of the Grift would have nothing so the relationship is consensual on some plane. It’s easier now than in, say, Old Vegas. In the Vegas before corporations, the hoodwink exposed was typically met with a shallow grave in the Mojave or at least a severe beating. Vegas 2020 requires that one be aware and have a more refined bullshit detector.

✶

A call on the radio. A problem in the restaurant.

Sitting by himself, looking like the kind of guy who has been living in the desert alone and jobless for far longer than the COVID shutdown, is the meanderer. He has come in, ordered food, eaten the food, and now is giving the waitress everything from a Wine Club Card to a random hotel key for payment. Apparently, her insistence that these are not cards with which he can pay for his chow does not sit well with him.

As I approach, he is pressing a chunk of white crystal against an old CD and doing his level best at an incantation.

“Excuse me, sir. Are you able to pay your bill today?”

Never looking up from the crystal/CD thing, “Yeah. Of course. This is a fucking diamond.”

“Sir, I could be wrong but I’m pretty sure that’s no diamond.”

“Bull-fucking-SHIT! It’s a diamond.”

“OK. Fine. The restaurant doesn’t take diamonds in exchange for food. Need some cash money for that.”

He gets up and his smell hits me in the face despite my mask. He gathers up things in a backpack. He slowly does a serpentine to the cashier. He takes another random non-credit card and starts swiping it through the Boarding Pass computer (used for our casino players to redeem points for meals). “How many fucking times do I have to pay for this?” he exclaims, pointing at non-existent receipts. “There’s a receipt, there’s a receipt, there’s...”

My security officer takes his picture and informs him he is no longer welcome at any of the Wildfire properties and, should he attempt to come in, he will be arrested for trespass. He laughs.

“Great! At least I got to eat!” and he walks out the door, yells that he wants to bitchslap me, and keeps moving with an obvious strut in his step.

“Fucking freeloaders,” mutters the security officer.

“Yeah. On the other hand, he managed to scam a free meal.”

✶

In a society, regardless of which ism is at play — Capitalism, Socialism, Communism — there will always be Have Nots. There will always be that chunk of society that simply cannot make things work out in their favor. I have a grudging appreciation for those who, when the world refuses to give them a break, get creative and risky in ways that may seem skeevy but still garner them a place in the system.

The more successful con artists in America are wearing suits and live in huge homes. They scam in ways that are no different from lying about bed bugs, crying racism when power or money is desired, or consuming things without payment. The difference is scale and who is harmed by the fraud.

I only admire those large scale hucksters when they make movies about them and mostly when they’re fictional.

#Casino life

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bloglivre-blog · 5 years

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Documentário celebra centenário de Ingmar Bergman

New Post has been published on http://baixafilmestorrent.com/cinema/documentario-celebra-centenario-de-ingmar-bergman/

Documentário celebra centenário de Ingmar Bergman

Há cem anos nascia o dramaturgo e cineasta sueco Ingmar Bergman (1918-2007). O documentário Bergman: 100 anos (Bergman: a year in a life), da diretora Jane Magnusson, usa filmagens de arquivo do próprio diretor, excertos de suas obras e depoimentos de atrizes como Liv Ullmann, Barbra Streisand, do cineasta dinamarquês Lars Von Trier, entre outros, para prestar uma homenagem ao autor de alguns dos mais influentes e aclamados filmes de todos os tempos (Persona, O Sétimo Selo, Gritos e Sussuros, Fanny e Alexander e Cenas de um Casamento) no ano de seu centésimo aniversário. O doc de Magnusson cria um retrato leve, humano, destacando os lados positivos e negativos de um dos diretores de cinema mais icônicos do mundo.

Essa não é a primeira vez que a diretora se dedica a investigar a obra de Ingmar Bergman. Em 2013, Jane Magnusson dirigiu junto com Hynek Pallas o documentário A Cinemateca de Bergman (Trespassing Bergman). Apresentado como série de televisão na Suécia, um grupo de cineastas visita a casa de Bergman na remota ilha sueca de Fårö e seu acervo de mais de 1.700 filmes para discutir seu legado. Magnusson e Pallas vão atrás dos diretores que constam no acervo de Bergman e de suas reflexões acerca do cinema e da influência do grande diretor sueco na história.

Em Bergman: 100 anos, Jane Magnusson faz um recorte a partir do ano de 1957, quando o cineasta está estreando seis produções gigantescas. Além disso, aos 38 anos ele já tinha seis filhos com três mulheres diferentes. Foi neste ano que o diretor fez a maior descoberta artística de sua vida: para que seus filmes sejam ótimos, eles precisam ser sobre ele. Dono de uma filmografia extensa, densa em temas e estilo, o diretor sueco se vestiu com muitos de seus personagens. Alguns dos temas centrais das suas obras estão centrados no estudo psicológico dos personagens e das famílias disfuncionais, assim como na angústia causada pela ausência de um Deus, deixando o ser humano abandonado entre Deus e o Diabo.

Ingmar Bergman é reconhecido como um dos precursores do cinema moderno e é considerado por muitos como o maior diretor de cinema do século 20. Porém, o cineasta sueco tinha uma personalidade forte e suas próprias regras. Bergman – 100 Anos não apenas elogia o trabalho de um grande artista, como também toca em temas polêmicos, como o apoio de Bergman a Hitler, as acusações de fraude financeira e o comportamento agressivo durante as filmagens. Uma questão importante no documentário suscita é a licença que a sociedade costuma dar a artistas geniais para se comportarem de modo repreensível, porque as belas obras de certo modo compensariam os atos questionáveis. Seria possível tomar conhecimento do comportamento negativo de alguém e ainda achar a sua obra genial?

Dono de um ritmo de trabalho indescritível (sendo impossível imaginar como Ingmar Bergman lidava com tantos trabalhos), seus filmes são obras-primas. No último dia 14 de julho, o diretor sueco estaria completando 100 anos. O cineasta faleceu em 30 de julho de 2007, aos 89 anos, de forma tranquila em sua casa na ilha de Fårö, na Suécia, onde encontra-se sepultado. Sua extensa lista de premiações inclui três Oscar de Melhor Filme Estrangeiro por A Fonte da Donzela (1960), Através de um Espelho (1961) e Fanny e Alexander (1982), seis prêmios no Festival de Cannes, além dos festivais de Berlim e Veneza.

O documentário Bergman: 100 anos, dirigido por Jane Magnusson, estreia hoje (19) nos cinemas brasileiros.

#A Fonte da Donzela #Através de um Espelho #Bergman: 100 anos #Bergman: a year in a life #centenário Ingmar Bergman #Fanny e Alexander #Ingmar Bergman #Jane Magnusson #Liv Ullmann #O Sétimo Selo #Persona

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tillerman1 · 6 years

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WINTER LIGHT by Ingmar Bergman

Translated to the sentence by Thomas Jester

WINTER LIGHT

The time is twelve noon on a Sunday in late November. It is cloudy over the plain, and the blister comes with raw moisture from the marshland to the east. The Mittsunda medieval church lies on a hill between two villages, Hol and Djuptjärn. The congregation, which counts 367 people, is an annex to Frostnäs pastorate, but is in charge of church councils, priests and public schools. It has just begun to snow, sparsely but stubbornly, the soil has been frozen for a long time, soon roads and fields of a gray-white barrier are covered. Nine parishioners have flocked to the morning service. They are grouped scattered in the room with immobile faces facing the choir. The church is not large but well proportioned. The altar cabinet is a famous Belgian work from the fifteenth century - a triptych with the Holy Trinity in the middle. (Christ on the cross between the knees of God, besides a swinging dove.) On the right, the apostles, to the left, join the Holy Virgin with Joseph, the Child, the Cow, and the Donkey. At one long wall opposite windows rushes one vast iron stove. Man celebrating High Mass with Communion and has just sung the rescue psalm. Pastor Tomas Ericsson turns to the church. He has the flu and is bothered by chills, His eyes are feverish and forehead shiny with sweat.

TOMAS: Lift up your hearts to God.

The congregation rises, organ intones and the organist sings together with two or three of the assembled.

ASSEMBLY: God lifted our hearts.

TOMAS: Thank God our Lord.

ASSEMBLY: Alone he is worthy of thanks.

Tomas faces the altar, reads quite quickly and with still voice. The assembly is standing.

TOMAS: Yes, indeed, it is proper, right and blessed, that we always and everywhere thank and bless you, almighty Father, holy God, through Jesus Christ our Lord.

Some clock tower beats 12 of crisp but clear stroke. Tomas is silent, he raises his head as if he was listening. Someone coughs down in the church, the wind presses against the big windows, out of there the black networks of the branches move.

TOMAS (continues): He is our Passover, sacrificed for us, God's pure lamb, who carried the sin of the world, all adjacent death. And as he has overcome death and resurrected and lives forever, so shall all those who trust in him overcome him by overcoming sin and death and inheriting eternal life.

Tomas listens: This silence, like colorless emptiness - as in the dream.

TOMAS: Therefore, we want to, with your faithful in all times and with all the heavenly host, praise your name and till praying sing.

The organ, the few of the congregation and himself tries to sing this prize and this worship.

ASSEMBLY AND PRIEST: Holy, holy, Lord God Almighty. Full are the heavens and earth of your glory. Give bliss of the height. Blessed is he who comes in the name of the Lord. Give bliss of the height.

The congregation sits down, it is noisy in the wooden pews: farmer Johan Åkerblom, 33; the teacher at Mittsunda Folk School, Märta Lundberg, 33; widow Magdalena Ledfors, 69 (has arrived the four-kilometer-long way from the village of Hol). The fisherman carpenter Jonas Persson from Öcklarö together with his wife Karin, both 35; churchwarden Knut Aronsson, 69; former station printer Algot Frövik, 30; baker Hanna Apelblad, 37, together with her daughter Doris, 5.

TOMAS: Praise to you, Lord of heaven and earth, that you had compassion on the children of men, and gave your only begotten son, on that to where and one as believe in him not shall perish, but have everlasting life.

A wave of fever runs through the pastor's head and he draws a deep breath.

TOMAS: We thank you for the salvation you prepared for through Jesus Christ. Send your spirit into our hearts, that he may make a living faith with us and prepare us to properly celebrate the Savior's remembrance...

He swallows, his throat feels like an open wound.

TOMAS: ... and receive him when he comes to us in his holy supper.

They that know how it goes over in church bend now their heads, the others follow the example and so reads Tomas the words of institution.

TOMAS: Our Lord Jesus Christ, in the night he was betrayed, took bread, gave thanks, broke it and gave it to the disciples and said, Take, eat. This is my body which is given for you. Do this in remembrance of me.

Algot Frövik reconciles himself carefully, he is ill because of his deformity, he's a hunchback, the right side of his body is badly distorted, chest down, his head bent forward. He has mild childish moves, but carries a constantly worried facial expression, the eyes are red-edged by insomnia.

TOMAS: Likewise did he also the cup, thanked God and gave to the disciples and said, "Drink this all of you." This cup is the new covenant in my blood, which is shed for many for the forgiveness of sins. As often as you drink it, so do this to my memory.

Yeoman Johan Åkerblom who carefully followed the text in the psalm book, beats again it, takes off the eyeglasses and itches himself in the cropped iron gray hair stubble on one temple.

TOMAS: Let us all pray now, as our Lord Jesus Christ has taught us.

Doris Apelblad, who is five years old, hurts and turns her legs, she is a floor clock. Modern takes her hands and clasps them. The clock stops temporarily, Tomas kneels.

TOMAS: Our Father, which art in heaven, Hallowed be thy Name. Thy Kingdom come. Thy will be done in earth, As it is in heaven. Give us this day our daily bread. And forgive us our trespasses, As we forgive them that trespass against us. And lead us not into temptation, But deliver us from evil. For thine is the kingdom, The power, and the glory, For ever and ever. Amen.

Tomas travels painfully, taking the silver plate with wafers and turns himself towards the congregation. The organ gives it tone and now sings he of strained voice.

TOMAS (singing): The peace of the Lord be with you.

The congregation rises. Most stands mute with expressionless faces, but organizer Fredrik Blom sings together with his wife from above the organ gunner.

ASSEMBLY (sings): Save us, gentle Lord God. O God's lamb, which removes the sins of the world. Listen to gentle Lord God. O God's lamb, which removes the sins of the world. Give us your peace and blessing.

Everybody settles down and a few moments of wildness arise. Then the teacher, Märta Lundberg, travels to the choir. After some hesitation, Algot Frövik turns to his legs. The fisherman Jonas Persson fumbles with the bench door and holds it up for his wife who is in pregnancy. The old widow from the village of Hol rises in the hallway with certain steps and creaky Sunday boots. Marta Lundberg approaches the altar, stands for a moment indecisive, but then falls back to the left of the four other communion guests. Tomas turns to Algot Frövik and sticks the oblate between his lips.