Sunday, March 30, 2003

Make his fight on the hill in the early day,
Constant chill deep inside, Shouting gun, on they
run through the endless grey, On they fight, for they
are right, yes, but whos to says For a hill men would
kill, why? They do not know Suffered wounds test their
pride, Men of five, still alive through the raging
glow Gone insane from the pain that they surely
know, For whom the bell tolls, Time marches
on, For whom the bell tolls, Take a look to the sky
just before you die, It is the last time he
will, Blackened roar massive roar fills the crumbling
sky, Shattered goal fills his soul with a ruthless
cry, Stranger now, are his eyes, to this mystery, He
hears the silence so loud, Crack of dawn, all is gone
except the will to be, Now they see what will be,
blinded ,eyes to see, For whom the bell tolls, Time
marches on, For whom the bell

Your not your car, your not your job, your not how much
money you have, your not the contents of your
wallet. We are the all singing, all dancing crap of
the world.


Friday, March 28, 2003

"Between the adult who knows she won't find reason in the world, and the child who refuses to stop seeking it, lies the difference between resignation and humility."

"Evil in Modern Thought: An Alternative History of Philosophy", Susan Neiman
"As flies to wanton boys, are we to the gods;/ They kill us for their sport,"
-----"King Lear", Shakespeare
"In thinking about the state of American movies today, however, it is never a good idea to abandon cynicism altogether. Remember "Chicago." The best picture of 2002 is about an innocent young woman with dreams of show business glory who, through canny manipulation of the news media and the emotions of the public, gets away with murder."
-----A Night to Restore a Faith in Movies By A. O. SCOTT, March 24 2003, Critic's Notebook, New York Times

This is why I prefer Moulin Rouge to Chicago, because in Chicago there was never really any character (save perhaps for Roxie's poor husband), who I really cared for... I believe it is important that a film must contain a character with whom the audience must be able to sympathize with, and care for, and that ultimately there must be a triumph of the human spirit. and not of human vice.