MovieChat Forums > ejbronte > Replies
ejbronte's Replies
OP is more than likely correct: it clearly is marked Vichy Water, and was most probably available for the taking by the phone. He kicks it away in a message to himself that he is done with the Vichy government, Major Strasser-types, and blowing with whatever the prevailing wind happens to be.
This could just be nitpicking, but I feel that animals in general are sentient; and there's evidence that there's sentience in plants as well (Jonesy sure is sentient, as far as I'm concerned!). So sentience in the Alien wouldn't be a big leap for me.
And many animals exhibit intelligence when it comes to both hunting and avoiding being caught: lions, many types of dogs, hyenas, and other animals live in a competitive/cooperative community and use various strategies to catch prey; crows and other corvids solve problems and manufacture and use tools; we won't even go into the weirdness that is the octopus. So, for me, the alien exhibiting intelligence when it comes to catching and using prey is not a stretch.
As noted in a previous thread, divorce was very difficult at the time of this movie; and in addition, Tina would probably be under the custody of her mother, something that no one, including the mother, would want, or be able to avoid. The divorce would likely have much more negative fallout then than it would now, including the reputations of Jerry, Isabelle, Beatrice (remember there's another daughter involved), and also Charlotte, since she would likely be implicated in the proceedings. None of this would help Tina. Or Cascades, for that matter, with Jaquith having known about the relationship and allowing Tina to be with Charlotte.
In these circumstances, the marriage remains. Tina will remain nominally under the guardianship of Dr. Jacquith (sp) and Cascades but actually with Charlotte. The mother (and sister) could visit whenever they wish, though I can imagine how often that would happen. Jerry can also visit whenever he wishes, but he and Charlotte can't indulge in a physical relationship. This is far from perfect, but it preserves everyone's reputations, and it allows Jerry and Charlotte to share what matters most: the wellbeing of Tina.
For Marley, we're safe in "Christmas Carol" territory: Jacob Marley is Scrooge's partner, the first ghost in the story, and basically the organizer of the evening's events.
According to that Wikipedia article, Forster was a friend of Dickens (and many others) and read Dickens' works in manuscript, so the scenes between the two that concern Dickens' writing would be based in actuality.
Budget and other concerns might be the reason for leaving out the Cratchit kids: I don't mind that. This is basically a fantasy of how the story was written, and the events in Charles' life during the composing of the story deliberately parallel the story itself, down to the bouquet of blessings on after the dark night of his soul when he lets Scrooge live and learn. For me, the movie works on those terms. I have quibbles, but they didn't interfere with my enjoying the experience, well, how can I say "no" to Christopher Plummer needling poor Dickens; Jonathan Pryce being utterly charming and eccentric, and getting a chance to cheer on Simon Callow in his tiny but wonderful scenes?
In actuality, Ismay did not pressure Captain Smith, according the inquests. In addition, as he was well aware, and as Captain Rostrom (?) confirmed during the inquest, the only authority on board the ship is the captain. Smith had the final word on how Titanic ran and how fast. Ismay was on board as a passenger; he was a longtime executive of White Star; he would know the rules.
In actuality, he tried to help fill the lifeboats, but in the end, he was so upset that the officer (I believe it was Lowe) ordered him to stop. At the inquest, there was an angry exchange between Lowe and Ismay because both recalled that Lowe wasn't at all polite on deck; Lowe didn't want to quote himself at the inquest, and Ismay shouted that he should.
The actions by the Ismay depicted in this movie do not reflect the record.
Small correction: Beth is older than Amy: birth order is Meg, Jo, Beth Amy.
For me, these reasons occurred to me:
War is still not a foregone conclusion.
Kinslaying is an unforgivable wound to your soul and conscience, if you are a normal, feeling person.
The look between her and Alicent struck me: the way Alicent placed herself in front of her son to protect him (futile, of course, but all more striking for that). I think I saw something shift in Rhaenys (sp) in that moment: she understands this. She will not cross a mother protecting her child.
I'm going to disagree with this general concept: The number of birthing scenes are no more or less than the number of battle scenes we'll soon be seeing, and to the number of battle scenes in so many series and movies. I'm not a fan of watching battles, but they are important elements to the stories they take place in. "House of the Dragon" is about succession and the violence prompted by wanting to succeed to power. Birth is vital to this sort of story. The cost of giving birth is important here. And, up until recently, pregnancy and birthing has been dangerous and sometimes fatal for both mother and baby (and even today, pregnancy can be dangerous, and birthing can cause serious problems). FYI, even back in the 18th century, Denis Diderot was equating the birth process with a battle, so this view isn't a new one.
I'm also going to disagree about the idea that the men don't count here and aren't real characters: I see a nice variety of men, all with their own personalities, ambitions, and dimensions. Their loyalties are going to be centered around two women, but that's because, thanks to circumstances, that's what the power centers are in this story. It isn't unheard of in reality either: Isabel the Catholic vs. Juana la Beltraneja; and of course, a whole string of women vying for power after the death of first Henry VIII and then his son Edward VI. Two examples out of several. So, for me, none of this is particularly unbelievable, or unenjoyable.
Leigh is playing a woman who is over the top, it is her defense both against the world and herself. The characterization Leigh gives to Blanche is, I feel, completely suitable, and is actually an interesting foil for Brando.
I respectfully disagree: She explains her situation to Mitch in both the scene where she talks about Alan's suicide and when he accuses her of not being straight. She fell into a depression after her husband's death, compounded by the guilt she feels about unwittingly driving him to it. And she was left responsible for the care of the parade of deaths at Belle Reve, as well as trying to support the maintenance of the estate. Stella wasn't there to help her, and she wasn't educated in estate management. She says plainly to Mitch that the relatives she had to nurse were accusatory to each other; that "death was as near as you are." She is a woman who has been left on her own with burdens both internal and external. And no one near her now understands her or knows how to help her. She is not lazy, she is dangerously depressed.
Or, perhaps, if the apes had been left in peace and left to influence the world with their views and their fore-knowledge, then there would have been less of an incentive to use apes as pets/slaves in the coming future, therefore no ape uprising. Which isn't to say there still wouldn't have been a nuclear catastrophe.
It was quite wonderful - I learned about that kind of walk when reading about Marie Antoinette - the idea was precisely to look as though you were on a dolly. Apparently, you walk on your toes, short steps, but not choppy. It takes a lot of practice, but the result is fun to watch.
Me too. I didn't want anything to happen to any of the dragons, and I certainly didn't want any of them taken from Dany. In my heart of hearts, I want, when they all meet up again, for Viserion's Targaryean sense to spark at the sight of his mother, and that he'll make the Night King sorry he ever thought of mounting a dragon.
That's right - it was Dennis Price, who I know from the viciously funny "Kind Hearts and Coronets".
Agreed, that was a terrific scene....too short!
Weren't both Rigg and Pryce in a movie called something like "Theatre of Blood", where Vincent Price played a seriously demented actor getting back at his critics?
Oh, if we're counting dragons, then, Drogon is top ten - they gave him a great range of movement and expression considering he's a huge winged lizard (I really want one. I get cold easily). The Jon scene where Drogon closed his eyes while being stroked was sweetly catlike. They do a slow blink when contented with their human servants.
Nymeria goes onto my list too. And much as I protest what happened to poor Viscerion (sp), that last scene was impressive.
I came in to the show very, very late -- season six! So my list is based on season six and seven plus snippets from YouTube and occasional accidental landings on reruns. So I'll take your word on the always wonderful Sean Bean. I'm much less well acquainted with Stephen Dillaine, and missed a lot of Dormer (I've seen and liked her in "Elementary".) Headley isn't old hat to me as of yet; I'm seeing her embrace a difficult character, though I may feel differently if I go for a crash week of watching the whole series at some point.
I forgot to include Jonathan Pryce, who made a wonderful and scary Sparrow (would have loved to have seen him match up with Charles Dance). He was equally lovely as a vulnerable Mr. Bronte earlier this year.
We're discussing actors as opposed to the characters they play? If that's the case:
Peter Dinklage (Tyrion), who is able to establish a connection with every actor he shares scenes with. His scene partners, in turn, react off him, and the moments really come alive.
For very similar reasons:
Conleth Hill (Varys) and Charles Dance (Tywin), Pedro Pascal (Oberyn)
For pure investment in the role, and making me enjoy believing with them:
Maisie Williams (Arya), Aiden Gillen (Littlefinger), Lena Headley (Cersei), Gwendoline Christie (Brienne) and both Jerome Flynn (Bronn) and Rory McCann (the Hound). And extending this to the sheer courage needed to inhabit human monsters:
Raymond Griffiths (Joffrey) (I never cottoned much toward Ramsay)
Because she's Diana Rigg! Diana Rigg! Oh, how she enjoyed her role, and oh, how she brought that woman to life!
Oh, and James Faulkner, because I kept staring at that name in his last episode, wondering why it was so familiar, and then Googled him to realize he was Herod in "I, Claudius", which led me to use up a whole night re-watching sections of what was basically the "Game of Thrones" of its time.
I agree with this; he couldn't leave Winterfell without being sure of Sansa, which meant working to isolate her from Arya, Brienne and Jon while inserting himself as her mentor and support. As he knew she was wary of him, it was vital to change her attitude, and leaving wouldn't do that.
All very true, I agree Sansa did extremely well, especially when up against Littlefinger.
I do wonder how reluctant Brienne would have been in Littlefinger's case: one of the reasons she didn't want to go to King's Landing was that she didn't like to leave Sansa alone with Littlefinger. Considering her comment on loyalty to Jamie after the wight display, she may be more pragmatic than we might have thought?