
2007.07.31 • 02:13 • 0 com
Yesterday I watched Yet, shame. Yes. Shame. Bergman is so much of a high-brow thing, such a common name amongst anyone who has ever read one or two paragraphs of literature in his life and considers himself to be sufficiently cultured, I sometimes feel like it is too crowded a club for me to belong. Like opera or soap opera or Philip K. Dick, it didn't have the flare of idiosyncrasy, the very very long tail of the niche I wish to stand for. (Sometimes it is enough anyone saying "wow, man, I really liked that stuff you showed me" for it to be completely smashed and ruined for me.) That's why I say "shame". The thing is, Bergman is truly of that rarest of species: the unanimously good.
Why is he so good? Just look at one frame of it. Just ponder over a few lines of dialog. Just loose yourself in all that suffering. Not that hard to recognize greatness, eh?
On this movie in particular: here we have the many shames of a man caught in weakness after weakness. When external situations get out of control, war stepping into his and his wife's lives, his weakness finally flourishes into complete degradation. But aren't we all living the dreams of someone who, at waking, will feel ashamed? And what is this shame? Having the nerve to disappoint Liv Ulmann! Yes, and I say "Liv Ulmann" because if every sentient being was like Liv Ulmann, or maybe I would say His Holliness Liv Ulmann, we wouldn't have problems developing compassion towards them.
To end, unlike most Bergmans, in a high note, funny was the comment made by Arnaldo Jabor, after praising—rather eloquently I must recognize—Bergman's many artistic achievements: "Though of death too much, but still he laid all pretty Swedish actresses around... It was a good life." Right, Brazilian wisdom is the perfect cherry on top on any Swedish nightmare...
Also in movies: Superbad • Das Boot • O Cheiro do Ralo • The Lathe of Heaven • Sakura no mori no mankai no shita • O Ano em que meus Pais Saíram de Férias • The Fountain • Goh-hime • 10 Items or Less • Half Nelson • Hoffman • Silver Streak • F for Fake • Stranger than Fiction • Mulholland Dr • A Scanner Darkly • Scoop • Brazil • Stay • Film Geek • The Trial • Rikyu • Kuroi Ame • Tanin no kao • Don't Come Knocking • Jinruigaku nyumon: Erogotshi yori • Where the Truth Lies • Stalker • Tibet: Cry of the Snow Lion • Jesus Christ Superstar • Lila dit Ça • How to Get Ahead in Advertising • Equus • My Sassy Girl • Mysterious Skin • Bewitched • Dead Men Don't Wear Plaid • They Live • La Joven • Peeping Tom • Buono, il brutto, il cattivo, Il • What the #$*! Do We (K)now!? • Glen or Glenda • Casa de Areia • Melinda and Melinda
Shares tags with: — Please, tell me the airplane won’t crash. • Little Autumn Roar • Cheating Death, Who Laughs Last? (death); Dharma, Ice Cold (high-brow);

Funniest mindless movie of the last few years. McLovin is the best, and the other guys grew on me.
In his job he needs to undervalue the suffering of others in order to make more money. Then there’s the smell, the ass and the eye. The degree of objectification of desire is in direct proportion to the self-debasement of the indulger. By degrading the other, he nullifies himself. The very indifference to the overjealous ones, the suppressed recalcitrant losers of the world, is what causes their victims to exist. Great disturbing movie.
A lost science fiction PBS movie with Taoist undertones is a real find, right? A guy discovers his dreams change reality—when he wakes up he finds himself in a world where the content of his dreams have actually happened. He of course gets scared after a couple of nightmares, seeks relief in drugs, and then, because of them, is lead to a psychiatrist. 
Here's for all the sissy Apple lovers out there... This is the ultimate design for my old Duron, which faithfully downloaded well over one terabyte (mostly movies, 1300+) always on 24/7/365 over the last four years. It also runs Apache and is a file and printer server, as well as a router for my home network (with four, also damn old and beautiful computers). Sometimes I dust it off with a vacuum cleaner.
I really enjoyed 
I have read the article on
In imdb a user commented: "Annoying little transition into some sort of regurgitated independent film values finds this shallow project from Brad Silberling offering little and providing less in this embarrassingly exploitive work." I agree, yet it is still watchable — even more so if you understand how clichê is the fabricated spontaneity in it. It is as if independent movie has aquired its own hollywood-like formulaicism. So it kind of becomes an interestingly consumated aesthetic portrail of so many cult-status fabricated stylishness examples we see around. Many people liked 





