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The Merchant of Venice- Ac.2.Sc.7

Top aide of Trump:

O hell! what have we here?

I see none but Trouble spelled T-R-U-M-Pay

There is Oh vitriol! I’ll read the writing.

 

Reads

All that glitters is not gold;

Look at that thatch, it’s fool’s gold.

Many a man his hair has dyed

But this is real coxcomb’s hair:

But I cavil not at his thatch-

Pea-sized in girth do make grey matter

Run on and on to no avail.

Had he been as wise as his gold

What he speaks will make all glad.

Empty in thought, in speech rude,

His suit to the White House is doom’d.’

 

Top  aide of Trump:

Fare you well; your suit is cold.

Cold, indeed; and labour lost:

Scram then, beat it,- you said enow:

Hide your hulk in shame, saying:

Farewell, heat, and welcome, frost!

benny

 

 

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Time has come. Noddle the Water Spirit come to collect Aunt Doris. It was left to Jamie the water rat to stop…

2.1.11

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I am at the end of my tether. I have this slightly damaged goods and I tried all, but the thing has outplayed my hands. I could burn the whole thing up. But then it would make all my sweat and bother not worth the while.

I shall sell the world lock, stock and barrel. Whoever buys it off my hands then shall I leave the hell. It would be fun.

Let me see my little black book: under equivocation: ‘speak with a forked tongue but a mallet on the head makes carry the day.’ See Syria for instance. At Geneva they lie their heads off and they can teach me a trick of two. Imagine I who made a lie stick in their throat now am at the risk of drowning in the flood. They produce enough to drown the world and few besides in it. No I shall not have it. Sell it any price.

Now let me check what I had noted under persuasion:

‘Give the weak and defenseless some bromide to buck their spirits up. Say liberty and they are ready to break the chains off the ankles of half the world.

‘That is persuasion for you. But the Panama Papers show how wet I am behind my ears.

Now recalling how I went about all across the world whispering the buzz word into their ears all I have got two alien tribes living cheek by jowl yet oblivious of each other.

Under education I had scrawled in my illegible hand. ‘Curiosity kills the cat but fat cats know how to kill curiosity.’ The world is reeling under a strange disease of FOMA. Does a man who has never bothered to know what he is really require so much external stimuli? He has information to drown three worlds and he is showing early symptoms of info crunch. Eternal youth for him with such symptoms is a crime. I shall not be held to account for it.

I am Satan but even I have some scruples. I shall sell the world lock, stock and barrel. Whoever buys it off my hands then shall I leave the hell. It would be fun.

 

benny

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76-16

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70-16

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Our generation can be truly called the film generation. Our modern world having survived quite a few cataclysms like two World Wars, the great Depression   can still be accessed. Lessons from history thanks to it are not forgotten if not really learned. I do not intend to discuss this aspect but rather film as art. For those who consider film as their bread and butter my approach may seem that of a lounge lizard. Nevertheless I am an artist. While I am an amateur in the Seventh Art my life I take in all seriousness to be lackadaisical about this medium. I have pursued it with the monomania associated with a butterfly collector who in order to add to his collection, would pursue one rare specimen to the ends of the earth. I have skipped a 1962 University exam in order to see The Streetcar Named Desire in its last run. For me exams were part of preparing for a career but a film meant much more. Like the doomed heroine Blanche I pursued the magic of art in life in whatever form I could distil, amateur or not.

Art in its essence is man’s touch with reality of his world that has more than one point of view. Palaeolithic art of a running horse discovered in Lascaux or a Bison charging (Altamira) are examples where his touch with reality forces him to fix the physical aspect of what makes up his world; in order to succeed in hunting a bison for instance, he needed an accurate knowledge of it as well as to capture its spirit by magic as it were. A filmmaker as an artist does in essentials the same as his stone-age ancestor. He works as a chronicler of his world in which his point of view may take several positions: his world vision licked into shape by life experience and also his role as a translator of the spirit of his age. Of the second let me merely say film art gets its force from that spirit of his age one of which is technology. Technology has made development of film possible but the basic principles of film, remains the same. Modern art for example did not change art but allowed the artist another vision. Cubism in the way Picasso demonstrates it, say Demoiselles d’Avignon, is about the genre of painting nudes but its meaning rather extended. His art, his experience of formal kind is clothed with elements of primitive art. A filmmaker similarly experiments in art and his technique may change with the help of technology as we see films of today. What with the electronic age is not Neo-Realism of Rossellini of Vittorio de Sica as dead as a Dodo? As Stanley Kauffman says in his essay on The Film Generation (A World on Film-the New republic) a film ‘has its roots –of content and method-in older arts. yet it is very much less entailed by the past than these arts.’

Reel Life is a movie list as a collection of 120 best films chosen from world Cinema with a preponderance for American and European films. There are a few Japanese and Russian films, which I am familiar with. There are equally significant films from many other countries but here again it is my personal preference dictated the list.

2.

I am an old man. But don’t get me wrong; it calls for a celebration of sorts. This present book of movie list is the summing up of my lifelong fascination with films. Many passions that convulsed me from time to time, I can now recall with a smile, were over-prized and with age I have given their due place as part of learning process. It cannot be without reason the films included in this book hold an abiding interest in me. Movie list is the reel life for me. As I rerun images from films in my mind’s eye I see their significance all the more clearer. My second childhood isn’t a bad thing at all if a worldview could sort it out better.

How do I know it for sure? Of course second time around I do not swallow everything that my eyes see as I had done once. Magic of the movies tempered with life experience makes this phase something to celebrate, explore (of the art behind the medium) and to seek perhaps some aspects that sets Truth in a way I can subscribe to.

Is Truth out of place in a medium that is as contrived as cinema? ‘The Mongrel Muse’ as Raymond Durgnat would call it in his ‘films and feelings’ is a synthesis of arts. If arts do hold any connection to life, in a moral sense or aesthetically, film also must bear relation to Truth. While I watch a film I am fully engrossed and not conscious my being except as a vehicle for various emotions or thoughts, of which I can only vouch for after having experienced them. Somewhat like our dream-state. Life for me, as a moviegoer does not cease but I have absorbed from the experience, a heightened sense of Truth, despite those flickering images so contrived to pass for real.

As a child what made me lap them up and what do I now with a sure sense of purpose are altogether different. So be it.

Much of what is presented in the Reel Life is collated from existing reviews, essays and information provided by others, and I have acknowledged the source wherever I could. However each film bears my worldview and my attitude to life and art. Somewhat like a book packaged from writers whose contributions forms a part but not the whole. My choice of films itself tells its own story. My life experience and its conscious thrust over the material justify my work. In short the book is my reel life.

If the reader should find the List incomplete, I alone am to blame. Out of thousands of films I have merely picked 120 best films that for some reason or other had better claims on me. For example The Blue Angel has been remade in 1959 with Curt Jürgens and May Britt in the roles played by Emil Jannings and Marlene Dietrich. I have chosen the original version of 1930 for the wonderful performance of Emil Jannings. Personal tastes in this case decided what to be included or left out. I hope to follow this up with a second book.

(Selected: My Reel Life/introduction-2014)

benny

 

 

 

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