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Jacques

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  1. Great topic, thankyou for your curiosity, like how u phrased " due to his/her own misplaced sense of perfection?", as well , well phrased. Jack in Malick's Tree of life comes to mind... David's "brother" in Speilberg's A.I. too perhaps? Oh and Kazan's East of Eden(1955)
  2. The Erotic Theology of Mad Men via Michael P. Foley at First Things.
  3. Belly of and Architect...do postcards to a dead architect count?
  4. King Lear - Shakespeare Divine Comedy -Dante Till we Have Faces -CS Lewis Winters Tale- Mark Helprin The Gideon's Bible ( so lonesome and waiting there- i always double check to see )
  5. An animated 15 min film by Directors William Joyce & Brandon Oldenburg , film website here. Its fantastic.... the i-pad app is beautiful as well and worth the price of admission. Now off to see if my own books can fly...
  6. Tree of Strife Terrence Malick’s new film—a cinematic meditation on God, grace, and the wretchedness of man—is an important and masterful work of art. It’s also the least Jewish film ever made. Liel Liebowitz explores the film, grace and Augustine overthere at Tablet
  7. Thanks thats a good point about Elihu
  8. Peter C absence noticed, glad your better and back...i knew the term parasitic would ruffle , hence my awareness of the lack.. it is silly perhaps but i was coming from the stand point of the Critic in Ratatouille - his vampire vibe... before he tastes a thing of beauty.. shifting his paradigm...and regaining some palor too his skin and heart as well. re: are critics bad , of course not-that would be silly but like Jobs friends they can miss the point*... and as is the case we see in the Anton Ego of Ratatouille(2007). Anton Ego: In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations, the new needs friends. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: Anyone can cook. But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more. They can be honest as critic Benjamin DeMott in the New York Times Book Review talki of a book by MArk Helprin,,, “I find myself nervous, to a degree I don’t recall in my past as a reviewer, about failing the work, inadequately displaying its brilliance.” And personal to a level of as Ebert July2 2011 Terrence Malick's "The Tree of Life" is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's "2001: A Space Odyssey," and it lacked Malick's fierce evocation of human feeling. There were once several directors who yearned to make no less than a masterpiece, but now there are only a few. Malick has stayed true to that hope ever since his first feature in 1973. ** missing the point can be the content of a good tale and narrative arc too.
  9. Favorite reviews VJ Morton Scott Derrickson and Joel C... Published: Eberts for the heart and Overstreet's for the brain, his thoughtful handling of dissonance and the honesty …I'd like to recognize the talented, Alejandro Adams too but that segment reminded me to too much of a Saturday Night Live skit , the impressionism of Dinosuars and the criticism of Malicks expressionism this irony had me in stitches.. and even recalled the professor in that movie line of Annie Hall, and sadly as he is a talent Adams lost me with mentioning Agee while ignoring James Agee's own symphonic works that are quite in common with said film being reviewed …. this omission seemed inferior at best , glaring at worse making it seem like indy IFC kitch, a young Hamlet lamenting on the ghost of his artistic father for not going along with his own expectations…and his own anxieties of influence ( see Bloom ) Anders wonderfully wrote: "I think those who read the mother as some sort of symbol of grace are off a bit. Rather, I think she is the primary vessel for Jack's "experience" of grace in his own life, and that colours his perception." I wonder . the use of symbol or better vessel of grace in light of this is ironic…lets discern, as here, does one really want to use the word vessel as an objective-correlative it seems off. Saying Mrs Obrien is a symbol does not mean she is immaculate….whats the dissonance there? the only commonality to Mary is that they share a death of her son…and offers that death up ….in obedience, i.e. fiat.. we accept portrayels of grace in music by the Beatles or in songs by U2 but in film ? Im biased yes, foolishly so, and on a personal level i have shakenly witnessed this outside of my love of film and books and thus hold fast to this recognition presented by this film..this obedience this faith...whether in the blocking of a pieta scene… in the physical sense or verbally as little or fleeting as here in the Tree of Life …a humbling catalogue all, and fall before such Love. Capitol L , full stop, period. First i do not mean to come off snarky, I appreciate the efforts Anders and of others who hold to another vantage, and learn accordingly, but there is something afoot and while it seems more like analogy of the glass half empty or half full: - our distinctions and conclusions perhaps may have more to do with our traditions than perhaps the film itself. Regardless the dialogue here is rich and rewarding. Perhaps even more rewarding as the bold insertion by Malick of that magical realism( if thats more palpable) of her levitating….its remarkable…some might see Tarkovsky…others Chagell.. and in Catholic tradition theres a few that fly..st Joseph of Cupertino comes to mind.. regardless , I find it striking this leap on the part of the director. Is this is the only leap of (faith) exhibited in his (Malicks) work ? Would the symbol be better if it was more secular: a freudian or Jungian symbol instead - would that help explain the mystery ..whats the need here by some to throw the baby out with bath water? With all do respect yet I find this surprising even here at A&F and in this case a reductionism of incarnational art that for me, this film presents as an example.
  10. And of his other films the only one to show parenting*** too...the glimpse of marriage, the silences as well. And on a lighter note baseballs cards in bicycle spokes, and letting go of your ride in a sunplashed meadow.... kapow. Was the dinosaur bone or rock found and heaved by the middle son ( was it him?) in that meadow ....was that some remnant of one of the dinosaurs earlier ? ***correction The New World ....the scene with her baby and one of the most transplendent joy filled hide and go-seek games ever put to film but never like this....over the kitchen table no less... in the most mundane manner...as memorial with a candle( or was that a counter top)... as a parent and as estranged son just trying to get through the meal without pissing off the old man or counterpoint regain lost ground in connection with your child... and even there as place of solace at job loss...reconciliation... Also i was moved by the fall of Jack (Job 31:1 mentions a covenant with the eyes ).... i had a complete suspension of disbelief taken in so .... not since Jackson's Gollum have I been drawn in by a slip, pardon the pun, into a "bent" habit of being and how subtle its unintentional consequences compound. gollum...cough..... golllum....we wansth our Malick....we needsth our Malick, even when itsth not Juicthy thweet nor on our own termmms. The Mysthery endures.
  11. Scottt Cairns review is just exceptional amd draws you in so, look forward and congrats!!!
  12. Bravo! "So shines a good deed in a weary world" to quote the Wonka... No its not lame... its true, and all Philippians 4:8 baby... HUGE and i say again bravo, I'd buy you a beer but i can only type this, Yes..this was your Yawp- your courage, you stood on the desk and said my captain. my captain! Whats better- is this is real ! Real and in common as Bukowsi looking at a snarling dog and saying "ohhh beautiful" real as saying susan sontag is self indulgent crap by way of Bull Durham...real as an Al Pacino rant about the rat ship of acedia and the status quo in Scent of a Woman. But whats better you were moved by a work of art and fortified by it...and that experience is yours that no critic professional or misguided soul or bore can squash with correction, dismissal or sarcasm. And for that i raise my glass, cheers Greg and know this thats the stuff of legend and be sure of this ,as one of my Uncles told me. "your now a part of their memory, and their tell there grand-kids, their lovers, their friends about you.. one who stood up in a theatre and pushed back.. Now on to Coltrane, what a fantastic analogy.
  13. Walking in and Walking Right Back Out of ‘The Tree of Life’ by way the New York TImes reading the posts are good too.... a play of voices one part Under Milkwood meets Wilder's Our Town, equaling aesthetic arrest. And for any who might be interested, re. said referent Tree of Life, you might like this article of its use in scripture The Tree of Life: Protological to Eschatological i only mention this because of Melville pencil markings in his own bible at Isaiah 27:1 I wonder now of the markings in Malick's Holy Bible as well. And what of the Sunflowers frame in the film? eye myself thought John12:24 that and Van Gogh another image maker whose faith and sufferings as a failed pastor turned artist resonates, I can only wonder. and to some, i know such comparisons are a stretch.... And speaking of suffering, trees, wood, the scene with Jack handing the small wood plank that really was memorable for where did that wood come from...then the scenes with the lamp socket, the bb gun... if not here then why include, all especially in light of the pov shot of this same brother looking at the face of Christ there in that mosaic of stained glass-ecce homo.
  14. Jeffrey O in #488 wrote It's interesting that we're never given access to the POVs of Jack's brothers. I recall theres a shot of Jack's fated brother looking at the stained Glass window of Jesus, the crown of thorns, would this not qualify? Or is the shot then the brother... p.s thanks for the response to my earlier post as well, Jeffrey appreciated the Chesterton vibe of the crowns! and putting on Grace by U2 accordingly Attica ty for sharing the response in the theatre,,, i love to watch people take in a film, a bit of Cinema Paradisio i guess.... your point here resonates, you wrote: 'For example, afterwards I was wondering as to the functions of grace and when grace should be replaced by a painful but sometimes necessary corrective response. Maybe the word replaced isn't even appropriate,as correcting his behaviour before it caused more damage could have been a merciful act. It would have stopped separation between him and the kids and maybe helped him to sort out his issues." Troubled i was too, I read Flannery O'Connor's The Lame Shall Enter First ....it helped answer what you so astutely bring up, as do her other stories... and do also read Parkers Back where sacramental beholding (hat tip to Mleary, and HAns Urs Von Balthasar)...incarnational art and iconoclasm meet. This latter one, Parkers Back, remarkably raises similar issues in the 'howness' of responding to an artwork based on grace and the arc of its movement. It echoes some of the same dissonance as found here in response to Malicks Tree of LIfe as well. Where an art work should show and not tell...and the eyes of faith, that Jack in the Tree of Life recovers.
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