"One human being had seemed to love him and he had denied her life and happiness: he had sentenced her to ignominy, a death of shame."
James Joyce, in Dubliners, A Painful Case [pg 325]
Tarkovsky Now Free to Stream Online!
All seven classics:
- The Sacrifice: https://russianfilmhub.com/movies/the-sacrifice-1986/
- Andrei Rublev: https://russianfilmhub.com/movies/andrei-rublev-1966/
- Ivan's Childhood: https://russianfilmhub.com/movies/ivans-childhood-1962/
Plus his student films:
- There Will Be No Leave Today: https://russianfilmhub.com/.../there-will-be-no-leave.../
- The Killers: https://russianfilmhub.com/movies/the-killers-1956/
Also one where he appears as an actor:
- I Am Twenty: https://russianfilmhub.com/movies/i-am-twenty-1965/
From here.
The strength beneath
Lacking studio financing, Cassavetes mortgaged his house and borrowed from family and friends, one of whom was Peter Falk, who liked the screenplay so much he invested $500,000 in the project. The crew consisted of professionals and students from the American Film Institute, where Cassavetes was serving as the first "filmmaker in residence" at their Center for Advanced Film Studies. Working with a limited budget forced him to shoot scenes in a real house near Hollywood Boulevard, and Rowlands was responsible for her own hairstyling and makeup.
Upon completion of the film, Cassavetes was unable to find a distributor, so he personally called theater owners and asked them to run the film. According to college student Jeff Lipsky, who was hired to help distribute the film, "It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors." It was booked into art houses in 1974 and shown on college campuses, where Cassavetes and Falk discussed it with the audience. It was shown at the San Sebastián Film Festival, where Rowlands was named Best Actress and Cassavetes won the Silver Shell Award for Best Director, and the New York Film Festival, where it captured the attention of film critics like Rex Reed. When Richard Dreyfuss appeared on "The Mike Douglas Show" with Peter Falk, he described the film as "the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie" and added, "I went crazy. I went home and vomited," which prompted curious audiences to seek out the film capable of making Dreyfuss (who is himself bipolar) ill. (Wikipedia)
Taken from here.
O que tenho para dizer
O que tenho para dizer,
permanece pairando no espaço subcutâneo,
aguardando a folga de um poro.
O que tenho para dizer,
paira como loucas folhas redemoinhando no ar,
sem eira nem beira,
como que aguardando um forte sopro de vento,
que as guie numa direcção qualquer.
O que tenho para dizer,
carece de organização.
Espera no limbo do reino do tácito,
como um significado que ainda não encontrou o seu significado.
O que tenho para dizer,
flutua num caldo visceral que,
intermitentemente e sistematicamente,
insiste em forçar caminho,
na forma de ondas de ansiedade.
O que tenho para dizer,
aguarda uma boleia.
27 Março 2022
Recurrences
E volto a citar Joyce...
Foi para partir à descoberta disto e para o viver na sua plenitude, que James Joyce partiu da sua Irlanda, cortando com as fortes amarras da religião que o criou [também representada pela sua 'mother figure' — com toda a eventual carga simbólica que aí resida].
No entanto... dizem os entendidos... que JJ nunca 'saiu de Dublin'.
Na verdade... Nem nós, nem ninguém...
Certo?
A vida é como as ondas do mar.
Voltam e tornam a voltar à costa.
"To speak of these things and to try to understand their nature and, having understood it, to try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of beauty we have come to understand — that is art."
A Portrait of the Artist as a Young Man, James Joyce
of art
"To speak of these things and to try to understand their nature and, having understood it, to try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of beauty we have come to understand — that is art."
A Portrait of the Artist as a Young Man, James Joyce [pg 183]
of words
[...] "but yet it wounded him to think that he would never be but a shy guest at the feast of the world's culture and that the monkish learning, in terms of which he was striving to forge out an esthetic philosophy, was held no higher by the age he lived in than the subtle and curious jargons of heraldry and falconry. "
James Joyce, in A Portrait of the Artist as a Young Man [pg 158]
