John Norris

An exorcism gone awry is a terrifying thing 😱

“Violence is the heart and secret soul of the sacred.” — René Girard

🔥

@Sorahiro1452 @L3Mve1 Indeed!

@L3Mve1 どんどん朝が明るくなってゆきます🟦

05:41

@Lewisquots Yep 🙏

“To be a Christian means to forgive the inexcusable, because God has forgiven the inexcusable in you.” -C.S. Lewis

@notberry12 @RealEmirHan Yep

@RealEmirHan That version would’ve been way darker 😳 The Truman Show already had an unsettling concept, but turning Truman Burbank into someone who completely snaps and attacks Christof would’ve shifted the whole message from hopeful escape to pure psychological breakdown.

Truman Show’s original script was darker: •After escaping, Truman didn’t just walk out. •Truman meets Christof and cast members on a rooftop. •The actors stare at him sheepishly. Truman loses his mind and attacks Christof and tries to strangle him.

A samurai can do no less 🙏 “The film’s point is that true justice often comes from those outside the system—and it requires personal risk, moral choice, and a willingness to stand with the powerless.”

@DannyDrinksWine 👌

Al Pacino on why he chose to appear in "The Godfather: Part III" (1990) & explains the reason why the audience disliked it: "When I was asked to reprise the role of Michael Corleone for the first time in 'The Godfather: Part II' (1974), I struggled with the decision and second-guessed myself constantly. Not so for 'The Godfather: Part III' (1990). The choice could not have been easier. I was broke. Francis was broke. We both needed the bread. And I thought it would be an interesting challenge to try to find Michael some twenty years after the story of the previous film and almost as much time since I had last played him. To their credit, Coppola and Mario Puzo wrote what I thought was a very good script. It had Michael traveling to the Vatican, to investigate the murder of Robert Duvall’s character, Tom Hagen. (...) The problems started soon after. There was an issue with Robert Duvall, and he didn’t want to do the film. These things happen. On Part II, Richard Castellano, who played Clemenza, didn’t come back. I had conversations with Richard practically begging him to do it because he was so great in the part of Clemenza, and he just refused. Why exactly was never answered. I never knew why Duvall didn’t want to do it again either. In any case, his absence from Part III was a big miss. With so much of the film depending on his character, none of us knew what to do without him. (...) But the big criticism of Part III had to do with Michael’s pursuit of redemption. I don’t think the audience wanted to have Michael spend the film seeking forgiveness for his sins. They wanted Michael to continue to be Michael. They wanted the Godfather. That’s what we love about him, right? The guy we saw at the end of Part II was encased in stone. I saw Part III as his effort to break free of that encasement, searching for a way out of his almost traumatized state of numbness." ("Sonny Boy", Al Pacino, 2024)

@athanasios32747 @mr_spenalzo @PatrickC895106 “Rollin' on, rollin' on....” 😎

@JohnClover65 @mr_spenalzo @PatrickC895106 Deep Purple have talked about this :) youtube.com/watch?v=wo0gK7…

Red Desert (Il deserto rosso), 1964. Michelangelo Antonioni. Monica Vitti.

@PatrickC895106 @athanasios32747 @mr_spenalzo It still sorta comes and goes 🤣

@JohnClover65 @athanasios32747 @mr_spenalzo Back in the day? I still feel like that.

@athanasios32747 @mr_spenalzo @PatrickC895106 I had that same feeling back in the day…

@mr_spenalzo @PatrickC895106

@athanasios32747 @mathewkobliska @DannyDrinksWine “Life moves pretty fast…”

@mathewkobliska @DannyDrinksWine This, too :)

On this day, 64 years ago, Michelangelo Antonioni's "L'Eclisse" (1962) premiered in Milan, Italy. Some U.S. exhibitors were so troubled by the ending of "L'Eclisse" (1962) that they cut off the entire seven minute sequence.

@Sorahiro1452 @Yo9483189976845 Another fascinating take: “Jung didn’t approach the Assumption as a historical or theological claim, but as a psychological event in the collective unconscious: Humanity was symbolically integrating the feminine into the image of the divine.”

@JohnClover65 @Yo9483189976845 故に教会からは様々な批判を受けていますが、大戦の惨状をつぶさに見てきたユングとしては、避けては通れない重要なテーマだったのでしょう。 聖母被昇天に於いては、キリスト教における女性性の重要性を説いています。

ニコラ・プッサンの「聖母被昇天」（1630頃）です。可愛い天使たちがうんとこどっこいしょとマリア様を天に押し上げています。 実はマリア様、キリスト様と違って自力で天に昇るスペックが無く、精霊の力を借りて昇天しています。だから昇天という言葉に「被」が付くのですね。

@Sorahiro1452 @Yo9483189976845 A bold take 😬 “Jung argues that because Job maintained his integrity while suffering unjustified torment, he proved to be more morally conscious than Yahweh”

@Yo9483189976845 精霊ではなく聖霊でしょうね。 精霊だと一般的には、アニミズム的な世界の🧚‍♂️妖精などを指すので。 聖母被昇天、公式の教義として決まったのは戦後の事で、深層心理学のユングはこれらを元に「ヨブへの答え」という重要な著作を著しています。

@MrLeeDragon @Sorahiro1452 “…blind obedience to their Lords, coupled with supreme martial skill, quickly drove men to commit terrible deeds.” Well said, Steve! 🔥👌

During this era of Japanese cinema, a few directors turned away from the previous tropes of the romantic, noble, loyal Samurai, and showed how that sort of blind obedience to their Lords, coupled with supreme martial skill, quickly drove men to commit terrible deeds. It's a great and very powerful film, John. Thanks for the thoughtful comment.

🎞 New Blu-ray arrivals from Eureka!, Arrow Video, and Criterion: 'Cruel Tale of Bushido' - The Fall of Ako Castle - Zen & Sword The Miyamoto Musashi Saga at Toei box set - Legend of the Eight Samurai - Samurai Revolution Trilogy box set - Akira Kurosawa's Dreams 🎬

@Sorahiro1452 @MrLeeDragon Sounds very human: “Harakiri argues that codes of honor can breed cruelty—and institutions will preserve themselves at the cost of truth and human life. It strips away myth and exposes what lies underneath: not noble warriors, but a system built on fear, pride, and denial.”

@MrLeeDragon この中で観たのは「十二人の刺客」と「夢」くらいですね。 侍映画、黒澤明作品を除くと殆ど観てないですね。 勝新太郎の「座頭市」シリーズは面白いけど。 アート系だと小林正樹「切腹」は傑作です。

@athanasios32747 A kaleidoscope of human insight 😎

A Selection of Anarcho-Surrealist Films 1/2 Branded to Kill, 1967. Seijun Suzuki Tokyo Drifter, 1966 The Red Light Bandit, 1968. Rogério Sganzerla The Discreet Charm of the Bourgeoisie, 1972. Luis Buñuel The Exterminating Angel, 1962 The Blood of a Poet, 1932. Jean Cocteau

@athanasios32747 Together at the premiere of La Grande Bouffe 🔥😎

@JohnClover65 Considering who his wife was, I bet he's lying :)

The Man with the Balloons (L'uomo dei cinque palloni), 1967. Marco Ferreri. Marcello Mastroianni.

@Sorahiro1452 Indeed!

@JohnClover65 教えてくださり、ありがとうございます🙇 興味深そうですね📖

#AprileFestaVagabonda #SalaLettura Mario Luzi (20 October 1914 – 28 February 2005) 🇮🇹の詩人。