Books 2010

Books 2009

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Sunday, 20 September 2009


I saw this film last June and liked it very much too. I am rather an Almodovar aficionado. I use to like the very colourful interiors he always chooses (in this case, all is very Forties-themed). And the place he chooses for the camera is always original - for example, he films from above, from off-the ground, or from one side of the screen.
This film is quite different from his usual work though. The story is so banal but the way he tells us what happens is very uncommon - and not linear at all.
Unlike you, I found there are some moving scenes. I particularly liked the scene with the film maker touching the screen with his hands, it is like he is trying to grasp that scene on the screen forever.

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  • Nothing is of greater consolation to the author of a novel than the disovery of readings he had not conceived but which are then prompted by his readers. (Umberto Eco, Reflections on The Name of the Rose)
  • ... relatively few persons in London ... can afford the luxury of one or more servants. No fewer than 3,700,000 have no servants at all, and of the half million that have servants 227,000 have only one. (The Times, 6 June 1895)
  • Standing among savage scenery, the hotel offers stupendous revelations. There is a French widow in every bedroom, affording delightful prospects. (Tyrolean inn brochure, according to Gerard Hoffnung)
  • (A doctor is at an elderly relative's deathbed) "The old sawbones, eh?" he bellowed ... "Just in the nick, perhaps. Haul the old girl back by the short hairs, if you ask me. Devilish smart at his work ... Always take a fence with more confidence when I know he's out with us."
  • Too often, when a man of Monty Godkin's mental powers is plunged in thought, nothing happens at all. The machinery just whirs for a while, and that is the end of it. (P G Wodehouse, Heavy Weather)
  • ...the breed that take their pleasures as Saint Laurence took his grid (Kipling, The Five nations)

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