it's not me, it's you


I seem to have the unhappy faculty of causing trouble wherever I go.

I seem to have the unhappy faculty of causing trouble wherever I go.

Every time she looks at you and every time she smiles, don’t forget I love you more.

Oh, I still do believe in God, old man. I believe in God and Mercy and all that. But the dead are happier dead. They don’t miss much here, poor devils. - The Third Man

(Source: howtocatchamonster)

3 months ago on 2 February 2013 with 629 notes
   via oldfilmsflicker   originally from howtocatchamonster  
#the third man  #film  #favourite 

onthesilverglobe:


Laurence Anyways (dir. Xavier Dolan, 2012)



The moment I met you, I knew I was in for something extraordinary.

onthesilverglobe:

Laurence Anyways (dir. Xavier Dolan, 2012)

The moment I met you, I knew I was in for something extraordinary.

4 months ago on 20 January 2013 with 55 notes
   via exsouvenir   originally from binoches  
#guh  #laurence anyways  #xavier dolan  #film 



Brick: What is the victory of a cat on a hot tin roof?Maggie: Just staying on it I guess, long as she can. Cat On a Hot Tin Roof (1958)

Brick: What is the victory of a cat on a hot tin roof?
Maggie: Just staying on it I guess, long as she can.

Cat On a Hot Tin Roof (1958)

4 months ago on 17 January 2013 with 857 notes
   via trixiedelight   originally from missavagardner  
#cat on a hot tin roof  #elizabeth taylor  #paul newman  #film 

Jumbled Ruminations on “Argo”

farahjoon:

One of the most infuriating things in the world is when people expect you to “catch them up” on extremely complex histories and cultures and ethnicities and peoples and geopolitical struggles which they could very easily research on their own. What’s even more infuriating? Argo.

I have had far too many folks ask me to “explain” why they shouldn’t see Argo, and almost every single time I get upset because it’s so fucking obvious — you’re watching Hollywood once again attempt to narrativize the Middle East through its Western filter. But it’s difficult to even try to explain the many layers of jingoism and self-aggrandizing propaganda in this film and its contemporaries to those who are incessantly trained to prioritize the lives of a handful of wealthy white people who are, thanks to Affleck, valorized as the “civilized,” “educated,” “elitist” Anglos vying for “safety” and “freedom” when confronted with the Angry, Bearded, Brown Revolutionaries — and their Supportive, Shrouded Sisters and Spouses® — who “reign over” an “exotic” and “evil” land.

Someone who graced me with their presence just this past week said something to the effect of, “Well, where are all the Iranian American filmmakers? I’m sure Affleck would’ve let them take over the film production, but they apparently don’t exist.” What exactly is going through the mind of someone who thinks this way — someone who assumes that Hollywood’s power players would readily afford anyone outside of their entity of privileged, white, Euro-American, Judeo-Christian men the opportunity to make their version of this particular film at this moment in modern history?

And, moreover, what exactly is going through the mind of someone who thinks that one Iranian American filmmaker is going to speak for us all? My friends and I have had far too many unnecessary run-ins with a lot of thoughtless, condescending, xenophobic, and bigoted white folks — white-passing privilege makes these experiences all the more interesting because people assume you’re “one of them” and say literally anything they want in front of you — and many of these people have fostered such a cripplingly myopic conceptualization of “terrorism” that they actually talk about “terrorism” as if it’s the polar opposite of anything that Europe and its great North American allies have ever engaged in.

No one seems to think about resistance vis-à-vis “terrorism.” No one seems to think about our collective engagement in the Orientalist gaze — how we at once fetishize and denounce the victims of our leaders’ myriad neoimperialist projects. No one seems to think about the acute stigmatization and racialization of Islam. No one seems to think about just how fucking heartbreaking and rage-inducing and gut-wrenching and soul-crushing it is to see peoples and places and religions you are connected to further demonized and othered to no avail by dangerous and irresponsible profiteers — by people like Affleck and Clooney and their cohorts who masquerade as “politically-conscious artists” yet who, in all actuality, poison the masses with fuel for fire, with more reasons to hate “those savages over there.”

Argo is the beating of a war drum whose reverberations are unceasing. If you’re going to spend only the first minute or so of the entire film giving audiences an historical foundation that reads like a subpar Wikipedia session, you shouldn’t be producing a mainstream blockbuster movie about Iran. If you’re going to compare CIA operations to abortions, you shouldn’t be producing a mainstream blockbuster movie about Iran. If you’re going to close your sefid circle jerk of a narrative with a soundbite from a former U.S. president instead of a cautionary message about sanctions/drone strikes/apartheid/Islamophobia/warmongering, you shouldn’t be producing a mainstream blockbuster movie about Iran.

What I do argue also is that there is a difference between knowledge of other peoples and other times that is the result of understanding, compassion, careful study and analysis for their own sakes, and on the other hand knowledge—if that is what it is—that is part of an overall campaign of self-affirmation, belligerency, and outright war. There is, after all, a profound difference between the will to understand for purposes of coexistence and humanistic enlargement of horizons, and the will to dominate for purposes of control and external enlargement of horizons, and the will to dominate for the purposes of control and external domination. […] Today, bookstores in the United States are filled with shabby screeds bearing screaming headlines about Islam and terror, Islam exposed, the Arab threat, and the Muslim menace, all of them written by political polemicists pretending to knowledge imparted to them and others by experts who have supposedly penetrated to the heart of these strange Oriental peoples over there who have been such a terrible thorn in “our” flesh. Accompanying such warmongering expertise have been the omnipresent CNNs and Fox News Channels of this world, plus myriad numbers of evangelical and right-wing radio hosts, plus innumerable tabloids and even middlebrow journals, all of them recycling the same unverifiable fictions and vast generalizations so as to stir up “America” against the foreign devil.

— Edward Said, May 2003

(Source: aloofshahbanou)





Perhaps, Perhaps, Perhaps

Perhaps, Perhaps, Perhaps

(Source: kikomizuharas)

4 months ago on 12 January 2013 with 482 notes
   via fincher-ed   originally from kikomizuharas  
#film  #in the mood for love  #maggie cheung  #tony leung 

“I never did much advance planning. I’d get all the people on the set before me, and when they were all there, that’s when I’d start to think and go to town. I only used one camera; I didn’t need any more than that. I knew what I wanted… If you use four cameras, the editor gets to choose the shot he likes. They didn’t do that with my pictures. They went together the way I wanted them to go together.”

Busby Berkeley
November 29, 1895 – March 14, 1976

5 months ago on 30 November 2012 with 970 notes
   via strangewood   originally from strangewood  
#busby berkeley  #film 
©detoulouse