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#32 | |
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has no status.
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It is cruel to discover one's mediocrity only when it is too late. |
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#33 | |
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Is it? Yes Stop talking to your self its the first sign of Quadrophinia, Now there is a film.
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It is cruel to discover one's mediocrity only when it is too late. |
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#34 | |
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is simply wonderful
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#36 |
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OK son ere yer go now be a good lad and dont whilst I tell all the rest of the good boys and girls the full story. Are you all cumffy, then I will begin;
Night Mail This is the Night Mail crossing the border, Bringing the cheque and the postal order, Letters for the rich, letters for the poor, The shop at the corner and the girl next door. Pulling up Beattock, a steady climb: The gradient's against her, but she's on time. Past cotton-grass and moorland boulder Shovelling white steam over her shoulder, Snorting noisily as she passes Silent miles of wind-bent grasses. Birds turn their heads as she approaches, Stare from the bushes at her blank-faced coaches. Sheep-dogs cannot turn her course; They slumber on with paws across. In the farm she passes no one wakes, But a jug in the bedroom gently shakes. Dawn freshens, the climb is done. Down towards Glasgow she descends Towards the steam tugs yelping down the glade of cranes, Towards the fields of apparatus, the furnaces Set on the dark plain like gigantic chessmen. All Scotland waits for her: In the dark glens, beside the pale-green sea lochs Men long for news. Letters of thanks, letters from banks, Letters of joy from the girl and the boy, Receipted bills and invitations To inspect new stock or visit relations, And applications for situations And timid lovers' declarations And gossip, gossip from all the nations, News circumstantial, news financial, Letters with holiday snaps to enlarge in, Letters with faces scrawled in the margin, Letters from uncles, cousins, and aunts, Letters to Scotland from the South of France, Letters of condolence to Highlands and Lowlands Notes from overseas to Hebrides Written on paper of every hue, The pink, the violet, the white and the blue, The chatty, the catty, the boring, adoring, The cold and official and the heart's outpouring, Clever, stupid, short and long, The typed and the printed and the spelt all wrong. Thousands are still asleep Dreaming of terrifying monsters, Or of friendly tea beside the band at Cranston's or Crawford's: Asleep in working Glasgow, asleep in well-set Edinburgh, Asleep in granite Aberdeen, They continue their dreams, And shall wake soon and long for letters, And none will hear the postman's knock Without a quickening of the heart, For who can bear to feel himself forgotten? (W H Auden)
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It is cruel to discover one's mediocrity only when it is too late. |
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#37 | |
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has no status.
Senior Member
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Quote:
__________________
It is cruel to discover one's mediocrity only when it is too late. |
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#38 | |
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has no status.
Senior Member
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Quote:
__________________
It is cruel to discover one's mediocrity only when it is too late. |
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#39 | |
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has no status.
Senior Member
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Quote:
Right on point! Yes, I also liked Melville's earlier Bob LF, which had a bizarre remake in The Good Thief, not bad to look at shot on the glitzy Cote d'Azur but definitely not the Melville Existential anti-hero. I especially liked the further evolution of Melville's style in Le Samourai and particularly the cinematography which reinforced the existential feel. I agree about the variations on a theme of alienation in Brit kitchen sink realism, but I have been trying to think of a true descendant of the Existential loner alienated from society as a whole rather than alienated in a class struggle. Can you think of a Brit film with a disengaged anti-hero like Delon in Le Samourai as well as its cinematography? Thanks for the very interesting reply. Barbara |
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