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tag:blogger.com,1999:blog-7695001055716849842018-03-21T00:47:41.182-07:00A glass of papaya juiceRaquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-43872927414411082052011-12-21T19:50:00.000-08:002011-12-29T10:24:18.099-08:00Sex, Love, Feminism: Jean Rhys and Julia Leigh's "Sleeping Beauty"
I first read Jean Rhys in college, Voyage in the Dark, in a modernism class. It's funny: I wasn't crazy about the class itself (it was fine), but I adored practically everything we read: Mrs. Dalloway, Women in Love, Portrait of an Artist, The Waste Land. And Jean Rhys. I loved Rhys. Particularly her language: so direct and blunt it was disarming -- the only way, really, to communicate life's harsh, absurd cruelties.

These cruelties, for Rhys as well as her protagonists, included poverty, sexual exploitation and alcoholism. A white Creole female living in England, Rhys was in almost every way an outsider. And she wrote about colonialism, sexism, class and morality with unsparring, cool clarity.

For December the book group my friends and I formed (we read lady authors!) picked Rhys' Wise Sargasso Sea, which she wrote in 1966, more than 30 years after Voyage in the Dark. Indeed, when Sargasso was published Rhys had been living in exile, the town drunk in Devon, England. She was, until the late '50s when a fan tracked her down, presumed dead. And then Sargasso ended up being her masterpiece -- a feminist, post-colonial prequel to Charlotte Brontë's Jane Eyre that completely shatters your notions about the characters in that older book. So badass.

Wide Sargasso Sea tells the story of Rochester's first wife, Antoinette Cosway -- the mad Creole woman in the attic whom, in Brontë's book, Rochester was tricked into marrying and who prevents him and Jane Eyre from being together. Rhys was angered by the classic novel's clichéd treatment of the exotic foreign woman as insane, dangerous and evil, so she wrote a devastating account of how colonialism, racism and exploitation (of one's sex, economic position and family history) could drive a bright yet innocent young woman to madness. Like Rhys, and like Voyage's Anna, Antoinette is an outsider: a white Creole, the daughter of a former slaveowner (now dead) and a woman driven insane by the death of her baby son, an heiress living in poverty and later isolation, an independent woman who has no control over her own destiny, and, finally, young bride of an Englishman who seems impossibly foreign and remote and who marries her for her money. She is exploited by almost everyone around her: by those (the natives, as well as Mr. Rochester) who want her money, and by those who want her for sex. No wonder she went crazy!

A couple of the other women in my book group were frustrated with how helpless Antoinette was. Yet, while Antoinette is largely a victim of the society Wide Sargasso Sea is that Antoinette is not just an innocent, one-dimensional victim: While she is largely powerless, she's also cynical, agnostic, astute and highly sexual -- and these attributes aren't what in the end condemn her to a life locked in an attic in England. And she's actually a lot like Jane in Jane Eyre. Both have troubled childhoods, have a detached, cynical view of humanity and are intelligent and artistic. Both are also -- despite Jane's somewhat puritanical morality -- aware of their sexuality: Remember that Jane, though she at first leaves Rochester when she finds out he is married, she rejects the boring minister who later tries to woo her because she isn't in love with him and returns to Rochester, consumed by her longing for him.

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After discussing Wide Sargasso Sea over pumpkin waffles and mimosas, I went to see Julia Leigh's Sleeping Beauty, about a perpetually broke college student (Lucy, played by Emily Browning) who takes a job as a Sleeping Beauty, a prostitute whose clients pay to do anything to her while she is in a drug-induced slumber. The movie seemed like something a young Jean Rhys would have created if she lived today and made films.

First, Lucy is a contemporary version of the modern Rhys woman: an outsider driven by her poor socio-economic standing, her ambition and her sex. She's also partly a victim of all three of these things. She uses her sexuality in order to get money to allow her to realize her ambitions and rise above her class: Here, her immediate ambition is to finish school (we have no idea what she plans to do after or even what she's studying). Yet -- like Voyage's Anna and Sargasso's Antoinette -- she can only handle so much exploitation and degradation before she breaks.

Yet there is the sense that Lucy is more adept at navigating the ruthless, cold modern world. Her clients, after all, are also victims -- of their sexual urges and desires (there's the guy who can't get it up but pays to talk vile to her exquisite corpse and lick her face), their age, their immense wealth, their loneliness -- and she exploits their needs and shame as much as they exploit her body. There's something sad about these transactions, something tragic and human, which makes them even more unsettling and complex than if they were just paying to have sex.

Then there's the tone: straightforward, cool and detached, like Rhys. (Take the scene where Lucy's future employers prod and examine her fair flesh to make sure she passes muster or the scene where Lucy's madame and her john discuss life and death at the foot of the Sleeping Beauty's bed, composed to look like a painting.) It's refusal to make moral judgements on any of its characters has lead critics to call it frustrating, opaque and empty. Well, it is frustrating and opaque, but that's what gives it its richness.

But despite its clinical treatment of the body, Lucy doesn't just see sex as a means to an end (i.e. money). As cooly as she treats her body ("My body is not a temple," she sneers when her employer says she will not be penetrated during work), there is a sense that she does derive something out of her sexual encounters. She does, after all, get intimate with a few other guys, presumably without asking for cash. And she does, after several jobs as a Sleeping Beauty, become obsessed with finding out what happens to her while she's under the ether. There is something about sex and about human desire that fascinates her, though she can't quite place or understand it.

Also, like Sargasso, Sleeping Beauty is a subversive retelling of a beloved classic, one that exposes its predecessors retrograde, anti-feminist message and shatters the idea that love can conquer even the most insurmountable obstacles (a curse in Sleeping Beauty, an inconvenient marriage in Jane Eyre). And it implicates us too. I think that presenting Lucy as somewhat of a blank canvas (her motivations are vague, her background and character growth scant), Leigh invites the audience -- like her johns -- to project their own ideas, prejudices and desires onto her, which forces us to question how we fill in these gaps and our own ideas about sex and sexuality.

Raquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-27089167453292281372011-09-02T09:14:00.001-07:002011-09-02T10:08:00.997-07:00Wong Kar Wai and 3-D Movies

The other day, I was riding the subway home from work, when I suddenly thought about In the Mood for Love, Wong Kar Wai's gorgeous 2000 film about forbidden love in 1960s Hong Kong. I don't know what made me think of it, but all of a sudden I felt that I was in a crowded, narrow street, the smell of body sweat and hot noodles assaulting my nostrils, and I marveled at how WKW could make someone who had never stepped foot in Hong Kong experience it so viscerally.

WKW's films -- we'll pretend My Blueberry Nights doesn't exist -- are not just movies; they are experiences. I remember watching Days of Being Wild and feeling the humidity and heat in those lush outdoor shots in the Philippines. I remember feeling the grime in some dark, obscure stairway (or was it hallway) in Fallen Angels. His films can be overwhelming -- an assault of the senses, and on the emotions too -- but I wouldn't have them any other way.

Nowadays, filmmakers rely on 3-D to make audiences believe they are experiencing something. But we don't need things flying at us to make us engaged. I can watch In the Mood for Love and touch the silk of Maggie Cheung's dresses, I can smell the dimly lit hotel room where the two romantic leads meet to write their comic book and end up falling in love, I can taste the noodles they eat -- all without special effects (though Christopher Doyle's rich cinematography is kind of its own special effect it's so amazing).

***

On a related note, I went back and read my original review of WKW's 2046 (his sequel to In the Mood for Love), and wow, I can't remember feeling so passionately about a movie in such a long time. (The one recent thing I've seen that comes close is the first 1.5 seasons of Twin Peaks.) Either I am thoroughly jaded or WKW really is magical.
Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-30090162404175616572010-02-20T20:07:00.000-08:002010-02-21T19:28:48.979-08:00Celebrities at the MoviesToday Dante and I went to see some Godard rarities--a potpourri of trailers, interviews and shorts directed by or featuring the great French director--at the Walter Reade Theater at Lincoln Center. We spotted, unsurprisingly, The New Yorker's Richard Brody, whose excellent book on Godard's life and work I reviewed for Forbes in the audience. His companion: Jason Schwartzman! Before and after the screening, Schwartzman was gabbing enthusiastically, gesticulating madly. I wonder what these two were talking about.

It's funny how we've seen more celebrities at the movies than anywhere else in New York City, which is weird because you think of celebrities going to premiers and fancy events and not just randomly hitting up the cinema for a weekend activity--it seems far too egalitarian an activity for them. It also, in terms of seeing actors and directors, feels a bit like breaking down the fourth wall. These are people you are accustomed to seeing on the screen, in another dimension, I guess, yet here they are on the other side of the screen sitting with you, partaking in the same experience. Trippy, man.

Our first summer in New York, we ran into Ethan Hawke getting popcorn at IFC (he was chatting with the employees and seemed to be a regular). We saw Gabriel Byrne at a screening of Claire's Knee at BAM. We spotted Sofia Coppola near the front of a packed theater for The September Issue at the Sunshine. And we sat in the same row as fashion designer Isaac Mizrahi for Michael Powell's The Red Shoes at Film Forum. Each sighting seemed perfect for each celebrity too: Of course Ethan Hawke would hang out at indie favorite IFC; an intellectual French film seems the perfect fit for Byrne, so thoughtful and brooding and intense and handsome in all his movies; Coppola, possibly the best-dressed women in the movie biz and a long-time muse of designer Marc Jacobs, would naturally have an interest in a documentary about Vogue (she looked so chic too, in a striped boatneck tee and slacks); and the theatrical, stylish, sumptuously colored The Red Shoes could provide Mizrahi with some great inspiration for his equally glamorous, vivid fashion collections.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-21919021073697330072009-12-31T16:48:00.000-08:002009-12-31T16:53:45.133-08:00Some New-ish Movies I've SeenFantastic Mr. Fox: Worthy of Dahl

Where the Wild Things Are: Angsty!

Up in the Air: Totally overrated

A Town Called Panic: Fabulously absurdist

Young Victoria: Pleasantly surprised

Bright Star: Stark and beautifulRaquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-29531954979377134502009-12-21T16:56:00.000-08:002009-12-21T17:07:24.213-08:00David Lynch's Favorite Sandwiches
Photo by Justin Hoff

So, I met David Lynch when he was in New York for a speaking engagement with the Hudson Society. And we talked a bit. And then he listed his top five favorite sandwiches for me. And then I ended up writing about it on Forbes.com. And, well, the rest is history.

(Btw, that's me on sitting on the far left, with another reporter next to me, David Lynch and David's friend, who is conspicuously checking his Blackberry.)Raquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-24953210075774053962009-11-07T14:01:00.001-08:002009-11-07T20:55:05.363-08:00Edumicated
Carey Mulligan and Peter Sarsgaard in "An Education"

This afternoon, Dante and I went to see An Education, which I rather liked. But afterward, as we were walking back to the subway he mentioned that he thought the acting and the screenwriting were good but the directing was too stodgy.

He thought that the stiffness was okay for the parts when the 16-year-old protagonist, Jenny, is at home in her middle-class suburb of London, but that when she gets whisked into a world of concerts and champagne and art auctions by a suave older man (played by Peter Sarsgaard), the filmmaking should have gotten freer. (New York magazine's film critic, David Edelstein, said something similar: "Lone Scherfig's direction is glum. We're so clued in to what's really going on that we never share Jenny's authentic excitement at being introduced to art, music, and exotic locales.")

I agree that the direction is rather conventional, but it didn't in any way detract from my enjoyment of the film. Of course, though I never had an affair with an older man and grew up in a much different time and place, I was quite similar--in interests and aspirations--to Jenny when I was a teenager (I even played a string instrument and shared her love of existentialists; I am still obsessed with French culture), so perhaps Jenny's thrill at being a part of this life of style and sophistication was just naturally more palpable to me than to Edelstein or my boyfriend. As far as the direction goes, I think it serviced the narrative just fine, which is strange since I generally like more formalism in my movies. But I guess sometimes having a story is enough.

*Interestingly, I actually reviewed Lone Scherfig's last movie Wilbur Wants to Kill Himself for my college paper here. Warning: I wrote this as an undergrad; I think that's all you need to know.Raquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-36380225844384032122009-09-27T14:48:00.000-07:002009-09-27T20:15:01.999-07:00QuestionsEveryone loves questionnaires! Dante Ciampaglia called my attention to this cinematic equivalent of the famous Proust questionnaire by film critic Didier Peron, which was translated into English by New Yorker writer Richard Brody.

I bite:

The first image?
All those brightly colored umbrellas dancing in the rain from Umbrellas of Cherbourg

The film (or the scene) that traumatized your childhood?
Maleficent from Disney's Sleeping Beauty. She featured prominently in my nightmares for years.

The movie your parents prevented you from seeing?
What didn't they prevent me from seeing? I was particularly crushed when my mom wouldn't let me see the Romeo + Juliet adaptation with Leonardo DiCaprio when I was an adolescent. Moms are, like, so totally cruel.

Your fetish scene:
Lena Olin in a bowler hat.

You're directing a remake. Which one?
Not really a remake, but I would like to see someone do a really interesting adaptation of Edie Sedgewick's life--something more impressionistic and trippy than the completely mundane Factory Girl (my review here).

What makes you laugh?
The absurd.

Your life becomes a bio-pic. Who plays the role of you? And who directs?
Charlotte Gainsbourg, Sofia Coppola

A film that makes you say "Never again!"
Holocaust movies, war movies, movies about the oppressed/marginalized/etc.

The character who most sets you dreaming.
A pair, actually: Jesse and Celine from Before Sunrise

The absolute filmmaker, in your eyes?
Jean-Luc Godard, of course.

The actor or actress you'd like to have been.
Anna Karina

The last film you saw? With whom? How was it?
Family Life. With Dante. It was interesting, but a bit inscrutable and distant.

If you were to adapt a book?
The Dud Avocado by Elaine Dundy (with my boyfriend), and Lolita (I know it's been done twice, but I want to do it again).

The craziest thing you've seen on the Internet?
A piano-playing cat. OK, not the craziest, but isn't it cute?

If someone called you a cinephile, how would you react?
Psssssssh.

DVD or more-or-less-legal downloading?
DVD, but really, nothing beats the cinema.

The masterpiece that everyone talks to you about but that you've never managed to see.
Citizen Kane. Yes. Really.

The last image?
Have to agree with Richard Brody here: Jean Paul Belmondo closing his eyelids with his hand.Raquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-16492016356390928282009-09-06T07:06:00.000-07:002009-09-06T19:28:08.598-07:00Austen at the Disco
Kate Beckinstale and Chloe Sevigny primping at the Club

The Criterion Collection has released Whit Stillman beautiful and witty 1998 film The Last Days of Disco on DVD. I saw the film for the first time a few weeks ago at a screening at Lincoln Center, following which was a disco dance party, though I was really the only one moving my hips in a room mostly full of film nerds.

Stillman is a wonderful observer and chronicler of society who is unsparing yet sympathetic to, even protective of, his characters. Film Comment's Gavin Smith, in a conversation with the director after a screening of the film at Lincoln Center, compared him to Jane Austen, and I think that is rather astute. In a wonderful recent interview with the Village Voice, Stillman referenced Austen but also F. Scott Fitzgerald, J.D. Salinger and Evelyn Waugh, though Stillman is far kinder than the often acerbic and bitter Waugh.

There is a bit of a This Side of Paradise whiff to Last Days of Disco -- these kids, spoiled and bright, with their Ivy League pedigrees looking for love and trying to find themselves as they are thrust into young adulthood. The passion and earnestness in the film is also in keeping with Fitzgerald's first novel, but it is mixed with -- and even buried under -- a laconic irony and disarming awkwardness (much like many of Austen's funniest scenes). Alice (played by Chloe Sevigny) is the prototypical Austen heroine: independent (but not too rebellious), bookish and serious, yet romantic.

But Alice, in a way, has a much harder time than Pride and Prejudice's Elizabeth Bennet navigating through her society's social mores. For Elizabeth, elaborate, ridiculous rules are in place that she -- and her suitors -- must abide: the result is awkward, inconvenient, yet pretty safe. Alice, however, is a young woman in a time in which social mores are being completely uprooted and changed, yet there is still some secret, mysterious code in place that she must figure out. It seems so easy (in her view) to everyone but herself. And she watches them with a mixture of envy and (perhaps because of her jealousy) contempt. There is a constant turmoil between who she wants to be -- someone who is confident and who can easily ensnare men (like her domineering roommate, Charlotte) -- and who she really is. It is something all the characters, to an extent, struggle with, except perhaps Charlotte (played by a young Kate Beckinstale), who seems slightly delusional and egomaniacal anyway. It also spurs one of the film's most memorable monologues, in which the womanizing Des (played by Chris Eigeman) muses on the famous Shakespeare phrase "To thine own self be true": "But what if 'thine own self' is not so good?"

The witty repartee -- a wonderful mixture of the high and low-brow -- reminded me of some of my favorite post-graduate-malaise/Gen X films of the '90s, such as Before Sunrise and Kicking and Screaming, albeit about yuppies at the disco rather than slackers hanging around the coffee shop. I wonder if this had something to do with the film's initial lukewarm reception -- that Stillman elevated the much maligned and caricatured disco era and its spoiled, rich and materialistic enthusiasts to, well, something of beauty and profundity.

Two things I wanted to point out from the interview, which I found really illuminating. The first is how Whitman describes his writing process:
The best way I find is to have the characters start to operate and speak and then let them run and conflict and end up one way or another. And I really don't know how things will turn out, generally, in the stories. It's the reverse of what Robert McKee used to say in his course, which is, he used to say you don't want to create story through dialogue ... and the only way I know how to create the characters is to try some scenes with dialogue where they do stuff and say stuff, and then you start getting a sense of the character and what they might do and how they might think, and if you get to the point where they seem to be operating autonomously then it feels much better and much more authentic and worth exploring ...

And it's a slow process, because there're a lot of cul-de-sacs that have to be gotten out of. I think in dialogue, what I find really helpful is trying to sort of tell the truth about things, have the characters tell the truth from their point of view and then, sometimes you make a statement in dialogue and then you realize, "You know, that's not quite true, there are these exceptions, there's this other aspect ..." and then send another character to say that, or they can themselves reconsider what they said. Sometimes by being a little bit tormented by something you wrote that really probably isn't true, you can use that anxiety to come to a solution that helps you in dialogue, helps you in character. And often there's a joke in there, often you can come up with some response that'll be a punchline and you can see them get out of it, get on to something else.

So elegantly put. I love the idea of creating a story through dialogue. That makes sense to me. (There is a third option, I think, though, which is creating a story through a mood or timbre.)

The second is about realism:

I'm explicitly coming to feel that realism is a problem in cinema. It is the criterion for many people's judgment of films, and there's a lot of static about anything that doesn't seem verite to people, or externally verite. And I think ... it's led people a lot of wrong roads, they dismiss some things that are good, and over-value some things that are rather empty because of the infatuation with "the real." That "real" we really get every day, every day we open our eyes. And it is true that the unreal can be artificial in a very bad way, and therefore it makes us appreciate those film that seem real in what they're showing. I've just seen a series of highly-praised very realistic films and ... there's just a feeling of emptiness, of hollowness, there's no humor in them, there's no joy, there's no romance ... I don't think it's true to life because I think we bring those emotions and aesthetic exultation to life as we observe it instead of just having this critically-negative camera covering things...

My boyfriend and I were discussing this quote over our cereals this morning, and we both thought of the current craze for "mumblecore," films about inarticulate 20-somethings trying to figure stuff out. But mostly this quote makes me think, again, of one of my all-time favorite films Before Sunrise (and its companion Before Sunset). That film had a profound impact on me as an adolescent because in it I realized all my dreams and hopes and ideals. It is, perhaps, the most beautiful idealization of romance ever put on screen, yet it still feels true. You can argue that no early 20-somethings are as articulate and profound as Ethan Hawke's and Julie Delphy's characters in Before Sunrise, but that didn't matter, because what they said embodied the frustrations and dreams of young idealistic teens and 20-somethings watching that movie everywhere. They shared our frustrations and struggles, they shares our beliefs and passions, they just expressed them more beautifully than we ever could (and were themselves, of course, impossibly beautiful). In a way, though, that is one of the greatest things about cinema, that it can express ideas and life with more wit and insight and beauty and clarity than we have the luxury or time to.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-23973511416029614272009-08-25T17:12:00.000-07:002009-08-25T17:19:03.632-07:00An Exercise in MediocrityWhy do they have to ruin perfectly good books?

Of course this is all speculative--I am not, generally, against adaptations. But with these three on board, how can it not be mediocre?Raquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-15880465840217703642009-08-22T18:30:00.000-07:002009-08-25T17:22:02.872-07:00"Basterdized" History
A scene from Tarantino's "Inglourious Basterds"

When I was in fourth and fifth grade, my social studied teacher--who had quite the library of young adult historical fiction in her classroom--leant me the book The Upstairs Room, about two Jewish girls hiding in an attic in German-occupied Holland during World War II. I remember waking up at 5 a.m. on a Saturday morning and sneaking out of the bedroom I shared with my sisters in order to finish the book in solitude, tears streaming down my face by the end. It was the beginning of a mild Holocaust-literature obsession: Number the Stars, The Journey Back, Letters from Rifka, Anne Frank and, a couple years later, Survival in Auschwitz.

This is, I think, not an uncommon obsession for a certain type of young girl. The amount of young adult Holocaust novel aimed at females (that is, with young female protagonists) is quite staggering, and there were few girls in my (Catholic) fourth grade home room who weren't entranced by Anne Frank. There was--still is--something sacred, horrible and profound in the suffering portrayed in these works about the war and the Holocaust. I think most girls--myself included--gravitated toward the ones of Jews in hiding because while they reminded us of the terrible atrocities conducted by human beings, they also demonstrated the other human extraordinary capacity for kindness and bravery--I always liked The Upstairs Room best because those girls survived; there was a happy--but not naive or untruthful--ending.

But something about Quentin Tarantino's (also, I guess, happy) revisionist ending of his new revenge World War II flick, Inglourious Basterds [sic], was deeply unsettling to me. (I am not alone.) Still, I was surprised by my bristling response. Tarantino's ultra-violent, clearly fantastical postmodern revisionist pastiche is far less exploitative than, for example, Herman Rosenblat writing a fake Holocaust memoir. At least Tarantino's motivations, if misguided and naive, seemed pure. And part of me wanted to find Tarantino's gleeful, unconventional and pop treatment of the war and particularly of the Nazis refreshing. Richard Brody, on his blog, said, on this point, "If there's a virtue to the ostensibly transgressive aspect of [Tarantino's] pulp-fiction obsessions, it's precisely in his willingness to use despised or downmarket forms to bring up difficult or controversial matters.") Yet the film still felt wrong.

I think maybe this had to do with the film's oscillation between "serious film" and "grindhouse flick." Tarantino has been able to seemlessly meld the two before, as in Pulp Fiction, for example, but this time the two tendencies seem disjointed and jarring. The film isn't straight-up B-movie fun because it poses too many troubling--and interesting--questions (about history, Jewish identity, the power of film, etc.). Yet it doesn't examine these questions in any interesting or meaningful way. The problem isn't that the movie is revisionist or funny or ultra-violent, it's that it is so half-baked that it provides neither the cathartic cinematic escape that it promises nor the gravitas that the subject deserves.

A lot of this also rests on one big problem with Tarantino, made more and more apparent with each of his subsequent films: He wants desperately to be a formalist. The arcane references, the anachronistic music, the jarring voice-overs that take you out of the narrative (there's one part in Inglourious Basterds where Samuel L Jackson, in voice-over explains the flammable qualities of nitrate film), the schlocky over-the-top cartoon violence--all the things that make a Tarantino film a Tarantino film. Ostensibly. The thing is, though, that Tarantino isn't a formalist, he's a storyteller--and, generally, a pretty good one. There's nothing wrong with being a good storyteller, and Tarantino should highlight this gift, rather than obscure it or throw it out the window, as he has in this film. A group of Jewish Nazi hunters who scalp their victims isn't a story--it's a conceit. There was a sliver of a story in Basterds--the one about the Jewish cinema owner in occupied France who seeks vengeance for the death of the rest of her family in the hands of the Nazis--but Tarantino obviously thought cute jokes and postmodern flourishes and bloody beatings and shoot-outs were more important.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-46010587437551405632009-06-24T21:00:00.000-07:002009-06-27T14:22:55.305-07:00Because the Oscars Weren't Bloated Enough...The Academy has expanded its best picture nominations to 10 films. Apparently, this is to attract more viewers, but is lengthening your telecast to, say, four hours from three really the best way to do this?Raquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-31427945331248323442009-06-20T09:21:00.000-07:002009-06-20T14:19:18.574-07:00Mon Chéri! Since I am an unabashed lover of trashy period melodramas, I am very excited for Chéri, Stephen Frears' adaptation of a Colette novel about a courtesan who has an affair with a younger man--the film comes out in New York next week.

There are several reasons why Chéri can't be anything BUT awesome. First, it is based on a Colette novel. Second, it reunites Frears with Michelle Pfeiffer--the two had previously worked together in quite possibly the creme of the trashy-period-melodrama crop, Dangerous Liaisons. Third, the CLOTHES (love Rupert Friend's burgundy velvet jacket and Pfeiffer's high-necked cream lace and silk dress). Fourth, I have a soft spot for Belle Époque France (actually, I am a fan of most periods French).

In summation, this film was basically made for me. Can't wait till next weekend!Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-21826753321100245792009-06-07T14:04:00.000-07:002009-06-07T21:51:45.526-07:00Late Films at BAM
Godard's King Lear; image from BAM's website.

The last film I saw in the theater was Godard's King Lear, part of Brooklyn Academy of Music's late film series and every bit as head-scratching, meta and generally insane as I imagined. I mean, the cast includes Norman Mailer, Molly Ringwald and Woody Allen and the (tenuous) plot involves a descendant of Shakespeare's trying to recreate his lost works (wiped out in some sort of post-apocalyptic future that looks like the present, or, well, the '80s, when the film was made) and stumbles upon a Lear-like mafia don who is trying to divide his "kingdom" among his three daughters, the youngest being Molly Ringwald, with whom he has a vaguely implied incestuous bond. (The incest bond is further explored--and perhaps made more explicit--with footage of Norman Mailer and his own daughter, which Mailer was reportedly none too happy about.) The film is fascinating, if not entirely conceived or fully formed. Like most of Godard's post-New Wave stuff of the '70s and '80s it is sort of like a collage of fragmented ideas and images; like preparatory sketches and notebooks that would ultimately serve as fodder for his masterpiece and complete deconstruction of the history of film, Histoire(s) du cinéma. The film is more an exploration of the difficulties of trying to capture Shakespeare on film in a new way--of course, every Godard film during this period is an exploration of the difficulties of trying to articulate some kind of notion or idea on film--a task that Godard seems to acknowledge as fruitless but that he is utterly obsessed with attempting to unravel anyway.

King Lear is rarely shown, so I was super excited that BAM was showing it, though I thought its classification as a "late film" curious. Much of the films shown truly were examples of directors working at the tail-end of their careers--Eyes Wide Shut and Autumn Tale, for instance--but King Lear represents, I think, a sort-of middle-period film for Godard. The period after his outward rejection of cinema in the late '60s (after Week-End), when he basically just churned out Marxist propagandist films), and before his heralded return to the mainstream (well, relatively speaking) with films like Nouvelle Vague, In Praise of Love and Notre Musique. I would consider these more narrative-driven films his "late-period" films, but perhaps they would not have fit quite so neatly into the wonderful, strange and controversial head trips that characterized BAM's late film series.

Updated: Godard will try his hand again at literary adaptation, this time with Daniel Mendelsohn's book "The Lost." Richard Brody reports and adds some of his thoughts about King Lear.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-53199170697486936692009-04-26T19:23:00.000-07:002009-04-26T19:25:51.812-07:00"We cannot forgive you for never having filmed girls as we love them, boys as we see them every day, parents as we despise or admire them, children as they astonish us or leave us indifferent; in other words, things as they are." --Jean-Luc Godard's "New Wave battle cry", 1959.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-3992525591764436882009-04-22T06:06:00.000-07:002009-04-22T06:30:33.337-07:00French Films at BAMOne of the best things about living in Brooklyn is the Brooklyn Academy of Music, specifically its cinema. Less crowded and pretentious than Film Forum or even IFC in Manhattan, BAM is the kind of theater that attracts your average movie-goer and hardcore cinephile alike, playing contemporary mainstream fare (Adventureland), buzzy foreign films (Sin Nombre) and repertory programs devoted to everything from Elliot Gould to Arab filmmaker Youssef Chahine. Currently, the cinematek is playing a series of French films that have won the Prix Louis Delluc--the French Oscar. I thought I would spend the next few weeks perhaps living at the theater, but alas too many deadlines have forced me to skip out on lots of films I wanted to see, such as Le Guerre est fin and Diary of a Country Priest. This Saturday, though, I am planning on seeing my first Rohmer, Claire's Knee! The series concludes with 2006's excellent adaptation of D.H. Lawrence's infamous novel Lady Chatterly on Tuesday April 28, which I wrote about here.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-81824695974563852592009-03-21T19:12:00.000-07:002009-03-21T23:58:29.765-07:00Style and SubstanceI had only the vaguest notion of Constantin Costa-Gavras' 1969 film Z before seeing it at Film Forum today: I knew that it was a "political thriller," that it had won the Academy Award for best foreign film, and that--from the still pictures I had seen--I liked the clothes (1960s shifts for the ladies and chunky glasses and skinny ties for the gents).

You may laugh, but the clothes cannot be dismissed: It is partly Z's stylish panache that gives it its electricity, that makes it a nail-biting, elegant thriller rather than just some cautionary political tale, which it easily could have been. We are, after all, dealing with extremist fascist-like governments here. Somehow Z has it both ways: I can't think of a political film that's this much fun yet so harrowing in its portrayal of government corruption and the way it manipulates the mob. It's George Orwell done with the seductiveness of a Jean-Pierre Melville film.

The film opens with a police general giving a lecture on the dangerous ideological "-isms" infecting society as a group of pacifists await the arrival of a charismatic activist--played by a devastatingly handsome Yves Montand--whose life has been threatened and who is expected to deliver a speech at a pacifist meeting and demonstration that evening. Tensions escalate when a group of right-wing extremists show up yelling taunts, throwing punches and wielding clubs--one of which, coming from a punk in the back of a three-wheeled pick-up, strikes the venerated speaker on the head, leaving him critically wounded. Government officials hope to dismiss the whole thing as a drunk-driving accident and leave it at that and hires young, stoic magistrate Jean-Louis Trintignant to quickly close the case.

But turns out the unflappable wunderkind, with his tinted sunglasses and almost square devotion to his work, is a bit too smart for his own good, and he slowly--with the help of a heartthrob, ambiguously leftist photojournalist--begins unraveling a complicated web of government conspiracy and corruption. Costa-Gavras' breakneck editing, the quick, fractured and jarring flashbacks, and Mikis Theodorakis' thumping score give a sense of chaos and paranoia, less the picture appear a little too elegantly executed.

Time has in no way tempered the film's wallop (it celebrates its 40th anniversary this year). Z was inspired by the real-life assassination of Olympic athlete turned pacifist Gregoris Lambrakis in Greece, which shortly after became a military dictatorship--one supported by the United States. The film's rather sober coda--after a gleeful dispatching of those officials and policemen involved in the assassination--feels rather like a slap in the face, a wake-up call after two hours of first-rate entertainment. In a way it dismantles the conventions of this type of thriller--here we are ready to accept the neat, tidy, happy end to the story, when--bam--life intrudes, as a cold epilogue delivered by our dapper photojournalist, who is then replaced by some dispassionate, anonymous woman's voice.

***

On the way home from the theater I read Keith Gessen's Letter from Moscow in The New Yorker about the trial of the men accused of organizing and carrying out the murder of Russian journalist Anna Politkovskaya, and I got the chills. I realized then the prescience Costa-Gavras' extraordinary film, and it scared me.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-72009837862971483862009-02-07T21:03:00.000-08:002009-03-01T21:08:32.558-08:00Breadlines and Champagne: Depression-Era Films at Film ForumWhat better way to wallow in our recessionary blues (or escape from them) than with Film Forum's Breadlines and Champagne series, a month's programming of some of the greatest Great Depression-era movies--classic and obscure; socially conscious and extravagant; screwball and pre-Code--along with cartoon shorts, vintage newsreels and, yes, bread.

The series kicked off Friday night with the salty I'm No Angel, starring husky-voiced femme fatale Mae West and a very young Carey Grant (a rather odd romantic pairing). Vintage-tinged jazz group Vince Giordano & His Nighthawks--snazzy in tuxes--played a set beforehand, which had everyone in the theater bopping their heads and tapping their toes. A newsreel from 1933 showed the highlights of that year and included the phrase "Joseph Stalin, Uncle Sam's new friend..." (the same segment about the USSR's and U.S.'s improved relations also included the incredibly obvious yet still hilarious pun "red letter day"). Employees handed out bread to famished cineasts waiting in line before the show (now, if only they had champagne), and--sweetest of all--the whole evening cost only 25 cents (35 for non-members).

While the rest of the films won't be quite as cheap (regular price: $11), practically every night is a double feature--with a rare triple thrown in. And with classics like My Man Godfrey, It Happened One Night and 42nd Street, as well as salacious pre-Code entertainments like Baby Face (starring Barbara Stanwyck) and leftist social-realist parables, such as the sublimely named Hallelujah, I'm a Bum, how can one go wrong?

*Mae West and Carey Grant in I'm No Angel; image from Film Forum websiteRaquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-19085998817249317902009-01-07T17:37:00.000-08:002009-01-07T17:38:26.058-08:00All Bio, No SoulSome thoughts on MilkRaquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-6454109869384094482008-09-19T11:10:00.000-07:002008-09-21T18:12:08.821-07:00Biopics and Talking BugsWhen I first heard of the upcoming movie Howl, about Beat poet Allen Ginsberg's seminal work of the same name, I, of course, thought the worst: that the film industry would desecrate yet another literary work/figure with the biopic treatment.

Yes, I'm jaded; still, my initial balking has given way to at least interest. First is the scope: the film will not focus on Ginsberg's life or the "creation" of Howl, but on the obscenity trial surrounding the controversial poem. This could, of course, easily cross into pedantic, preachy message-movie territory, but I like when biographical films have a more narrow focus, rather than just doing an overview of someone's life, which tend to be reductive and shallow. And the artsy biopic is particularly reductive--Pollack, Frida, and--the worst--Factory Girl. I think I would rather see a courtroom drama than a literary biopic.

Also, a film about censorship and freedom of speech is, regrettably, particularly prescient now; after all, Howl is just the sort of book vice presidential candidate Sarah Palin would likely want removed from her local library's shelves.

I heard about the film shortly after seeing another "Beat" movie, David Cronenberg's imaginative, trippy adaptation of William S. Burroughs' Naked Lunch, which ended up being part adaptation of the book, part imagined explanation of the book's creation. I read the book in undergrad and actually remember very little, save for the protagonist being an exterminator and a passage involving a dildo named Steely Dan and feeling vaguely queasy throughout. So I don't know how much of the film was taken from the book, but I loved the manic quality of of it, made all the more unnerving with Ornette Coleman's free-form jazz improvisations, and the nonchalant absurdity of shooting up bug powder to get a thrill or having conversations with giant talking vaginal bugs who double as typewriters. The film is in this happy limbo of reality and absurdity until about the last 20 minutes, when a tidy explanation is given for all the talking bugs and secret government missions and made-up foreign cities inhabited by homosexuals. It seemed at odds with the rest of the film, which is brilliant--and it seemed unnecessary; with some thought and analysis we might have concluded that, yes, this was a film largely about the writing of Naked Lunch--a book, by the way, that also underwent an obscenity trial--rather than a straight-up adaptation. (The biggest clues are the friends of the exterminator--a hunky athletic type in flannels who seduces the protagonist's wife (Jack Kerouac) and a bespectacled, gangly poet (Ginsberg).) Or maybe we would have just taken it for a crazy, sci-fi movie about talking bugs. Ah well, ignorance is bliss, I guess.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-62123034068729348992008-08-14T16:07:00.001-07:002008-08-14T16:08:32.826-07:00Shameless Self-PromotionIf you haven't seen on my other blog, Gen X is taking over the world!!! (And that's a good thing.)

My Q&A with Lisa Chamberlain

Review of SlackonomicsRaquel Lanerihttps://email@example.com:blogger.com,1999:blog-769500105571684984.post-90173847024249331782008-08-13T18:51:00.000-07:002008-09-17T12:27:22.680-07:00"Drizzly. Dense mist in evening. Yellow moon."So, what did George Orwell think about when not penning literary masterpieces?

Apparently, the weather.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-27645427437460776592008-07-14T19:01:00.000-07:002008-09-17T12:12:04.097-07:00Bodice-Ripper, MaybeMy one guilty pleasure: trashy, sensationalistic period films (sometimes known as bodice-rippers).

This is why I am so excited for Brideshead Revisted. The trailer looks so ridiculous, so intricately yet erratically plotted, so filled with latent homosexuality, so puritanically smutty (you know, there's enough sex to satisfy our prurient selves, but the sex--and the money, power, material wealth, etc.--always leads to destruction of the soul, which makes it then easy to rationalize our enjoyment of the film). Nevermind that it probably does the book (by Evelyn Waugh) a great disservice; resistance is futile, I must see this film:

<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/X0Xql3fDM44&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/X0Xql3fDM44&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" width="425" height="344"></embed></object>

However, when trolling about the Internet looking for a release date I came across some rather distressing news. The film is PG-13. Yes, PG-13. Perhaps this isn't the Dangerous Liaisons the trailer makes it out to be. (Why does everything have to be watered down so it can receive a PG-13 rating? It seems particularly silly in this case since the film clearly isn't being marketed to a young demographic, nor can I imagine many middle- and high-school girls clamoring to see an adaptation of a novel they have probably never heard of (this isn't Jane Austen or Wuthering Heights)--unless that girl was me circa 1998; I definitely would have begged my parents to let me see this.)

Anyway, great literary adaptation; delicious guilty pleasure; watered down period melodrama? We shall see.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-25624556179387393712008-06-29T17:59:00.000-07:002008-06-29T18:01:01.912-07:00A Haiku About Park SlopeSo many mopeds
But nobody riding them
The new "It" item?Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-81624923077349925062008-06-06T11:09:00.001-07:002008-06-06T11:09:29.831-07:00Everything Is Godard
While neglecting my blog, I've been reading about Godard, watching Godard, talking about Godard, breathing Godard... And wrote a review about a book about Godard.Raquel Lanerihttps://firstname.lastname@example.com:blogger.com,1999:blog-769500105571684984.post-52558919307908723812008-04-23T06:26:00.000-07:002008-09-17T13:03:28.353-07:00Once More, With Feeling, Or Not
Norah Jones in My Blueberry Nights

Every time I watch Hong Kong director Wong Kar-Wai's (arguable) masterpiece In the Mood for Love, I get a ravenous desire for cheap Asian noodles. Not a craving, mind you--a ravenous desire that if not satiated will last days, days I spend in anguish just thinking about, obsessing over, how I will get my hands on some MSG-laden noodles. I'm like a junkie in need of a fix. Experience has taught me to watch that film with some good take-out--or at least a cup of ramen.

This is strange since I can't remember that many shots of really appetizing-looking food in the film at all (for food porn, see The Vertical Ray of the Sun or Big Night or Eat, Drink, Man, Woman.) That's how transportive Wong Kar-Wai's filmmaking is; he films an encounter at the noodle stand, and I feel like I'm there: pushing through the crowd, yelling to have my voice heard, feeling the heat from the steaming pots of noodles, smelling them. If I had to pick one word to describe his filmmaking, it would be "sensual."

However, "sensual" is not a word I would ascribe to WKW's latest (and first English language) film My Blueberry Nights. Case in point: Despite all the money shots of gooey vanilla ice cream melting in blueberry pie, I not once craved--nor got a sensation of--blueberry pie. I just thought, "ice cream melting in pie." I also thought of how sexual the shot was, but that thought was unaccompanied by desire or feeling as well. There was no depth. The film wasn't an experience so much as a bunch of pretty pictures tenuously held together by a threadbare plot. (This coming from someone who, generally, likes her plots threadbare.)

Actually, compared with most WKW films, My Blueberry Nights has a fairly concrete and identifiable plot. (Can you imagine trying to write plot summaries for his other films? In the Mood: Two cuckolds become friends, are bereft about their marriages, fall in love, maybe. Chungking Express: a fast-food-stand server pines for a regular who is pining for his ex; meanwhile, another regular pines for his ex but finds a diversion in a smuggler with a blond wig. Ashes of Time: martial arts masters do very little fighting, a lot of pining for one another. Fallen Angels: who even knows.)

Here's Blueberry Nights: a young woman (played by a wooden Norah Jones), spurned by her lover, finds solace in the company of a café owner (a really appealing Jude Law) and then goes on a cross-country road trip to forget about her ex-lover, where she meets many "colorful" (read: stock) characters. I miss all the pining.

Jude Law in the classic Tony Leung role

I'm not being glib. One of the problems with Blueberry Nights is a lack of urgency that characterizes WKW's other films. That feeling that if you don't get the girl, your life is not worth living. To a non-romantic, or to anyone who hasn't seen a WKW film, this sounds a bit ridiculous and melodramatic, and it is, but who hasn't felt this way at some point? And every time I see a WKW movie and am overwhelmed with longing or loneliness or romantic feelings or even hunger, I feel like this is why I watch films. His films aren't just meditations on these things, they are these things. It's the whole experience thing I discussed in my last post.

So, why does Blueberry Nights lack this urgency? First, there's Norah Jones (who isn't a cringe-inducing actress, but just has no presence); she doesn't so much act as react, though that's partly the script's fault. She's supposed to be a heartbroken mess, but she just seems like a perfectly well-adjusted girl who just was dumped by a guy whom she wasn't that crazy about to begin with but was accustomed to and so thus feels a little lost. This is not the stuff of WKW movies: No ambivalence allowed.

Jude Law's character, I thought, should have been the protagonist. A man with an interesting, not quite mysterious but maybe a little intriguingly hazy or murky past, who is pining for a lost girl who comes to his café and cries about her broken heart while gorging on his leftover blueberry pies. Law's is the classic Tony Leung part--he's also as dreamy as Leung. And he seems real, unlike Natalie Portman's character (a spitfire gambler) or Rachel Weisz and David Strathairn's fraught couple with a penchant for drinking and fighting.

Another reason why I think Law should have been the protagonist is because WKW doesn't understand women, completely. This isn't a bad thing; WKW does not usually pretend to understand women but tends to look at them--and film them--with a mixture of bemusement and awe. (The one exception I can think of is Faye Wong's character in Chungking Express, who plays a lovesick fast-food worker, and who is more empathetic than mysterious and seductive.)

Repression is also missing. One of the characteristics that make WKW's films so unbearably (in a good way) heartbreaking is the compulsion--or expectation--to repress one's desires or feelings. For this reason, his films aren't very talky, and this has made him find other ways to convey characters' thoughts and motivations. Here, though, everything is much more open (I don't know if this is merely the way he views American culture, in contrast with his own). People just talk, talk, talk, but there is no subtlety, and, because characters can just talk, talk, talk, there is not this urgency and longing to reach out to someone, this hunger for human connection that drives my favorite WKW characters to despair. I'm not saying I want characters to be despondent--I love, for example, Chungking Express, which is this sweet romance between lonely, inarticulate, crazy romantics--there's just no sense of struggle, of self-doubt, of repression in Norah Jones "journey," and there's really no obstacle keeping her from her destined love.

Of course, there are a bunch of other problems with Blueberry Nights: The camera work is jarring without serving the themes or narrative; the dialogue is, often, awkward; I miss WKW's regular cinematographer, Chris Doyle. But I could take or leave those. The romance--gut-wrenching, heartbreaking romance--is what I can't live without.Raquel Lanerihttps://firstname.lastname@example.com


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If you didn't know, you are supposed to explicitly exclude certain folders, file types, and processes from being monitored or scanned when using #antivirus/#antimalware software on #SharePoint 2003 / 2007 / 2010/ 2013 / 2016 on the wss, foundation, and server editions. Below are the requirements specifically for 2013 foundation and server but you can also view the requirements for the other versions of SharePoint at https://support.microsoft.com/en-us/kb/952167. Don't forget that there are also specific requirements for SQL Server, Windows Server, IIS, and other situations as well that require specific exclusions as well. There is a complete list at http://goo.gl/4IhTkT.
#Microsoft also recommends that customers deploy an antivirus solution based on the SharePoint Portal Server Virus Scanning Application Programming Interface (VS API). The VS API enhances the current core feature set by providing the abilities to optimize and configure the scanning process at multipleRead More

subset: commoncrawl


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"I personally hate wearing fleece because it causes electrical shocks," said an inventor from Fountain Valley, Calif. "I realized that there was a way to make fleece apparel that dissipated electrical energy so that the wearer would not get shocked."
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Hola Familia!
How's it goin'? Today (Friday, October 11) has been a fantastic day. Why, you ask? No big deal or anything, but our TRAVEL PLANS CAME TODAY! So, at lunch when we checked the mail together (fingers crossed because we thought those plans were arriving today) there they were. A stack of 10 small packets that determined our fate. The lucky ones from my district going straight to Argentina are Elder Scruggs, Elder Merenluoto, Elder Woodall, Elder Butts, Elder Goodwin, Hermana Ward and Hermana Kuhn. Elder Jo is going to San Fernando California, and so that's cool :) Elder Rallison doesn't know about his travel plans yet but he's going to Colombia anyway. As for me? KENTUCKY!! Who called it? I did!! I guess we just didn't get my visa stuff in early enough. But anyway, I'm really excited! I leave on October 23rd...two days after everyone else in my district.
Okay, so confession. My visa DID come through and I am going to Argentina with all the missionaries in my district! (Elder Jo actually got called to Cali) However, Hermana Kuhn and I fly together and we do leave the day after... actually two days after the rest of our district. We have to be at the travel office at 7:30AM on the 23rd (is that a wednesday?) but our flight doesn't leave until 12:30PM. We connect in Dallas to Buenos Aires. 12 and a half hour flight. That's just to Buenos Aires. That's where the list of flights ends. Unfortunately, comodoro is 1,093ish miles from Buenos Aires. 21 hour bus ride anyone? I sincerely hope they fly us, but as of right now we're going by bus. I might die. The good news is that I have at least a couple hours at the Salt Lake Airport & a four hour layover in Dallas when we can talk. I hope I can take a disposable cell!! I've got loads to tell you.
Anyway, there are 8 comodoro missionaries in my group, and another group of 8 going to comodoro too. I think we're all on the same flight just different "groups." Probably easier to keep track of the missionaries for the travel leader. Who knows.
Anyway, just thought I'd share the exciting news! :) Gotta go!
I love you all!
Love forever and always
Hermana Heath


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|Virus Busters
|Voice actors
|(Ja:) Nobuyuki Hiyama (Xros Wars)
(En:) Chris Smith (Fusion)
SlashAngemon is a Power Digimon. It commands the Powers and cuts through the vanguard in battle. As it persists in justice, it does not fear death. Along with the blades of its metal wings and hands, its entire body has gained a razor-sharp appearance, and it is surely an Angel Warrior created in order to battle wicked beings.[3]
- Blade of the True (Holy Espada, Esp: Holy Sword): Slashes with a cross-shaped energy blast.
- Golden Ripper (Heaven's Ripper): Charges at the opponent with staggering momentum, cutting them to pieces with the blades covering its body.
SlashAngemon is a humanoid angel who has been greatly enhanced by the presence of blades on its limbs and wings. Its general weaponry and background are references to the Powers in Christian mythology, who are warrior angels.
Its design was retouched by αρχιμεδεs.[4]
- SlashAngemon (スラッシュエンジェモン)
Official romanization given by the Digimon Reference Book and used in Japanese and some American English media.
- (En:) Slash, referring to its multitude of blades.
- Angemon-species
- GuardiAngemon
Name used in the American English versions of Digimon World 3 and Digimon World DS.
- (En:) Guardian angel
Digimon Fusion
Digimon World 3
GuardiAngemon can be obtained by leveling Kotemon to Lv.40 or leveling Kyukimon to Lv.99. It is also a White Mega 55/55 card.
Digimon World DS
GuardiAngemon digivolves from Kyukimon. A GuardiAngemon also appears as a victim of the BT Boss, along with a Seraphimon and a Cherubimon. They must be battled before Zhuqiaomon.
Digimon World Dawn and Dusk
SL Angemon is #345, and is a Mega-level, Attacker-class, Holy-species Digimon with a resistance to the Light element and weakness to the Dark element. Its basic stats are 293 HP, 325 MP, 168 Attack, 120 Defense, 138 Spirit, 129 Speed, and 66 Aptitude. It possesses the Heroic Power, Heroic Move, Numb Ward4, and Critical 4 traits.
It dwells in the Chaos Brain.
SL Angemon digivolves from MagnaAngemon. In order to digivolve to SL Angemon, your Digimon must be at least level 48, with 8500 Machine experience and 250 attack.
SL Angemon can also DNA digivolve from any two of Giromon, Kyukimon, and Piximon, if the base Digimon is at least level 41, with 8000 Machine experience, and 290 attack.
SL Angemon can be hatched from the Silver Egg.
Digimon Story: Lost Evolution
SlashAngemon is #236, and is a Mega-level, Attacker-class, Holy-species Digimon with a resistance to the Holy and Fire elements and a weakness to the Dark and Thunder elements. It possesses the Health 200%, Assassin's Arm, Stun Barrier, and Healing Wave traits.
It dwells on Proxy Island. When defeated, it can drop the debug plate for SlashAngemon.
SlashAngemon digivolves from Shakkoumon. In order to digivolve into SlashAngemon, your Digimon must be at least level 41 with 150 attack and 140 speed, but only once you have revived SlashAngemon.
It can be hatched from the Busters DigiEgg.


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One place they didn't hear the trains running last night: New York City.
The long-threatened transit strike started in earnest last night (coverage: AP via Yahoo! News, New York Times.)
I'm in Dallas at the moment, and Carrie is going to work from home until the strike is resolved, but millions of New Yorkers (and suburban commuters) aren't so lucky; they've got to work out a way to get to and from work and school until the strike is resolved.
According to press reports, the MTA and the state attorney general intend to seek full damages from Local 100 of the Transport Workers Union under the Taylor Law, which prohibits public employees from striking. Mayor Bloomberg and the City's attorneys are likely to pile on.
And I say: Go get 'em. I hold no brief for the MTA (to put it mildly), but it's time to shut this union down hard.
Put the boot in, boys, and give no quarter. New Yorkers are behind you, and you'll find little sympathy for the union in the electorate.
When the going gets weird, the weird turn pro. - Hunter S. Thompson
20 December 2005
Two words: Taylor Law
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Want more from Genius Kitchen?
Watch on your Apple TV, Roku, or Fire TV and your iOS, Fire, or Android device.Learn More
"No meal is complete without something sweet. This is a delicious cake."
Butter Pecan Banana Cake
1 recipe photo
READY IN:1hr
YIELD:1 cake
Ingredients Nutrition
- 510.29 g packageduncan hines butter recipe cake mix
- 4 eggs
- 236.59 ml mashed ripe banana (about 3 medium)
- 177.44 ml vegetable oil
- 118.29 ml granulated sugar
- 59.14 ml milk
- 4.92 ml vanilla extract
- 236.59 ml chopped pecans
- 236.59 ml coarsely chopped pecans
- 59.14 ml butter or 59.14 ml margarine
- 453.59 g container vanilla frosting
- Preheat oven to 350. Grease and flour 10-inch Bundt or tube pan.
- For cake, combine cake mix, eggs, bananas,oil, sugar, milk and vanilla extract in large mixing bowl.
- Beat at low speed with electric mixer until moistened.
- Beat at medium speed for 2 minutes.
- Stir in 1 cup chopped pecans.
- Pour into prepared pan.
- Bake 50 to 60 minutes or until toothpick inserted in center comes out clean.
- Cool completely.
- For frosting, place 1 cup coarsely chopped pecans and butter in skillet.
- Cook on medium heat, stirring until pecans are toasted.
- Combine nut mixture and frosting in small bowl.
- Cool until spreading consistency.
- Frost cake.
get the genius kitchen app.
Watch on your iPhone, iPad, Apple TV, Android, Roku, or Fire TV.Learn More


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Home Lighting Design Tips
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Chinese Study of Pegylated Interferon in Co-Infected Hemophilia Patients
In a December 2009 study, researchers in China evaluated the efficacy and safety of pegylated interferon (PEG-IFN) alpha-2a monotherapy in Chinese hemophilia patients co-infected with the human immunodeficiency virus (HIV) and the hepatitis C virus (HCV). HCV can cause liver cancer, cirrhosis, end-stage liver disease and liver failure. The progression to end-stage liver disease can be accelerated in co-infected individuals. The lead investigator of the study was Dr. R.F. Zhang, Shanghai Public Health Clinical Center, Fudan University School of Medicine in Shanghai.
The patients in the study were also undergoing highly active antiretroviral drug therapy (HAART), a combination of drugs that curbs viral replication and boosts CD4+ T cell numbers in HIV patients.
The study included 22 hemophilia patients (average age of 36 years), all of whom were given weekly subcutaneous injections of PEG-IFN alpha-2a for 48 weeks. Results showed that nine patients (41%) achieved undetectable HCV levels for six months after completing therapy, achieving what is called a sustained virological response (SVR). The patients' genotype, or genetic makeup, predicted SVR. Although SVR is not a true cure--the HCV is often not eradicated from the liver--it is still the goal for clinicians because suppressing the virus indefinitely to undetectable levels decreases the virus' harmful effects.
"In summary, this pilot study suggests that PEG-IFN alpha-2a monotherapy is efficacious, well-tolerated and safe in the haemophilic patients with HIV/HCV co-infection undergoing HAART. The virological response and adverse events vary in different patients. Thus, anti-HCV treatment in haemophilic patients with HIV infection should be recommended on a case-by-case basis," concluded investigators. They added that the therapy could be an option in areas with limited resources.
The study, "Efficacy and Safety of Pegylated Interferon Alpha-2a Therapy for Chronic Hepatitis C in HIV-Infected Patients with Haemophilia," was published online December 20, 2009 in the journal Haemophilia.


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On 12/08/2010 at 0815 hours the Northern York County Regional Police responded to a two vehicle crash on Susquehanna Trail at West Locust Lane in Manchester Township.
Investigation found that a 2000 Jeep Cherokee, operated by Jonathan Seifert age 19 of York, was travelling west on West Locust Lane. As Seifert was attempting to cross the Susquehanna Trail, he pulled into the path of a 2003 Ford Mustang that was travelling southbound on the Susquehanna Trail. The Ford was operated by Travis Stough, age 30 of Spring Grove. The impact caused both vehicles to strike an embankment and the Jeep overturned.
The investigation into this crash is continuing. Anyone with information is asked to call the Northern York County Regional Police at 717.292.3647 or use the crime tip reporting section of this website.


text:
by Cashmere Wrap & Macadamia Nuts
Dolce & Gabbana moved from Sicily to Spain taking inspiration for for their new Spring Summer 2015 collection from corrida and tango esthetics. Main elements revolve around lace, flounces, frills and color palette limited to combination of red, black and white. Embroidered denim trousers brought a modern twist and were an element of surprise.
As always with designers, new looks are feminine and seductive, complimented by heavy jewelry as well as beautiful make – up. Whenever looking at Dolce & Gabbana creations, I think about retro glamour, Sofia Loren and elegant sensuality.
(Photos: http://www.vogue.fr)


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Saddo that I am, I was looking through the Programme for Government this morning (available at the Department of the Taoiseach here)to ascertain the details of the agreed policy on waste between the two parties.
This followed the so-called '2-4-6-8 what do we incinerate' split between the Government parties. Now John Gormley still says there is no conflict between himself and Bertie Ahern on incineration. But any reading of the Bert's contribution to the Dáil yesterday (and I know - sometimes it's hard to know what he's saying) would have to conclude that he is saying that four will be needed, not two.
The problem for Gormley is this. Planning applications for four incinerators are in the process and he can't turn back the clock on those. What he is doing is trying to fight a rearguard action that pushes all the alternatives hard and reduces the incentives for incineration to such an extent that promoters will walk away from it.
Instead, Gormley is stressing a higher recycling rate (50%) and the introduction of MBT facilities (Mechanical Biological Treatment). Now there is a commitment in the Programme for Government on MBT but critically there is no target date. The review of waste policy by international consultants will not start until the beginning of next year and take a year. Realistically, its going to take until way after 2012 before the all of these facilities are up and running.
A lot of the Greens input into the programme for government have either no dates or very long run-in times. They have already taken so many hits on compromise that they will need to show a whole lot of tangibles... and soon. (For my read on it from RTE's DriveTime yesterday click here
See my rant from yesterday on this. The details of pay awards for Taoiseach, Ministers and higher civil servants is being announced today. If they are sizable in any way, expect a whole lot of flak because it flies in the face of everything that Brian Cowen has been saying over the past couple of weeks.
That wonderful old phrase comes to mind: feathering their own nests.
In Ireland's multi-seat constituencies, the most heated rivalries of all are between so-called constituency colleagues. Witness the spats between the three FF TDs in Cork North West and the Fergus O'Dowd versus Mairead McGuinness battle in Louth. But none match the intensity or enmity between the two Fianna Fail TDs in Cork East. Below is my story about it from this mornings Irish Examiner:
The battle will go down in history as The Battle of the Tearoom, the latest episode in the longstanding, and poisonously bitter, feud between two prominent Fianna Fail TDs.
Junior minister Michael Ahern and former junior minister Ned O'Keeffe are ostensibly constituency colleagues in Cork East.
But the enmity between the two men is well known and catalogued. There have been a number of altercations, including one incident during the 2007 election campaign.
Constituency rivalries are one thing but as one other FF TD said yesterday, Ahern and O'Keeffe are involve din internecine warfare.
"These guys are the most bitter of rivals. There's massive tension between the two characters. There's nothing quite like it in Irish politics."
The latest incident occurred yesterday morning, ironically around the same time as the Government was releasing its latest crime figures. The 'action', such as it was, happened near the door of the self-service restaurant when both men happened to arrive at the same time to get a cup of tea.
What is clear is that Michael Ahern addressed Ned O'Keeffe. The two men have not been on speaking terms for a long time and Mr O'Keeffe took exception to what Mr Ahern said. It led to an intense verbal altercation between the two men, a schemozzle of insults that lasted no more than 30 seconds, according to Pat The Cope Gallagher who was also present.
What exactly occurred after that is open to dispute. Ned O'Keeffe claimed that Michael Ahern pushed him. The Irish Examiner understands that that claim was strenuously denied by Ahern. Gallagher said that there was no physical dimension to it, other than one of the TDs (Mr Ahern) placing his hand on the shoulder of the other (Mr O'Keeffe).
The upshot was that Mr O'Keeffe made a complaint to the Superintendent of the Oireachtas, Commandant Paul Conway and also complained to Government Chief Whip Tom Kitt.
Mr Kitt later said that he had spoken to a number of people who were present when the incident took place, including the two protagonists.
"I am formally of the view, and my assessment, is that all that was involved was an exchange of words, he said.
Because he believed there was no physical aspect, he said he was not going to take the matter any further.
"I will advise both of them to avoid the possibility of such a situation arising again."


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The Prestige Reviews
Top Critic
October 21, 2006
Watching The Prestige is like observing a magic act where the magician's sleight-of-hand isn't deft enough. The trick almost works, but not quite.
Full Review | Original Score: 2.5/4
Top Critic
October 19, 2006
The Prestige gets to be a bit of a grind after a while, despite all the finery and the elegantly detailed atmosphere.
August 28, 2009
Risible inanity
Top Critic
October 13, 2006
Audiences might enjoy this cinematic sleight of hand, but the key characters are such single-minded, calculating individuals that the real magic would be to find any heart in this tale.
October 16, 2006
Underneath the film's tantalizing stratagems lies little more than mundane truths.
Full Review | Original Score: 2.5/4
October 28, 2006
What The Prestige and filmmaker Nolan seem to have forgotten about magic is the very important element of misdirection. Without misdirection, an audience is bound to discover the trick and not be impressed.
Full Review | Original Score: 4/10
Top Critic
October 20, 2006
The film's title is defined as the big finish to a magic trick, but the prestige of The Prestige just lies there like an abracadaver.
February 28, 2008
In a movie about people who make their livings on misdirection, The Prestige utterly forgets to employ its own.
Full Review | Original Score: 5/10
October 19, 2006
The Prestige is rife with philosophical ambiguities, and I wish I could say it uses them well.
October 22, 2006
'The Prestige' is one of those weird movies that plays better in memory than it does on the screen.
Full Review | Original Score: 3/5
October 22, 2006
Though mostly a leaden affair, it has its few diversionary magical moments.
Top Critic
October 19, 2006
Parts of the film really stand out, but taken as a whole, it's a labyrinth of conflicting ideas.
Read More | Original Score: 2.5/5
Top Critic
October 20, 2006
By describing the structure of a great trick in a movie about a great trick, The Prestige makes a promise it can't keep. Its third act is about as convincing as a photo of a cow jumping over the moon.
Top Critic
October 20, 2006
Unfortunately the script is too smart for its own good.
Read More | Original Score: 2/4
Top Critic
October 20, 2006
Siblings Jonathan and Christopher Nolan's adaptation of the novel by Christopher Priest offers three acts of exasperating muddle.
Read More | Original Score: 2/4
Top Critic
October 20, 2006
Director Nolan's fascination with magic and with tricks in general comes through without question, but he approaches the subject with a seriousness that soon turns grim.
Full Review | Original Score: 1/4
October 24, 2006
It's a magic trick that's all showmanship and craft, but lacking true whimsy, ultimately failing the audience.
Full Review | Original Score: 2.5/5
October 19, 2006
Despite good acting and direction, the d�nouement in the film was so feeble it rendered the entire movie meaningless.
Full Review | Original Score: 6/10
October 30, 2006
October 23, 2006
Nolan has nothing special up his sleeve in this hazy smoke-and-mirrors drama, especially in Jackman's climactic trick that's too sci-fi and fantastic to be believed.
Full Review | Original Score: 2/4


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(I always stall out on these things halfway...I made it to the 15th and now here it is the 19th...some things never change!)
16) simple cleaners for the house. Don't laugh, Mom, I actually do clean! Mostly we've been using vinegar and hot water lately, but the dishwasher gets a Borax/Washing soda mix. Soon the name brand laundry detergent will be gone and we'll make our own for that too. I've used baking soda in the sink and yeah, I don't remember the last time it was that white!! Like having a new sink!! It's a lot easier to use stuff like that than toting around 6 different bottles for different surfaces. Do you have any favorite simple cleaning ideas? I keep meaning to get some essential oils to add to the vinegar solution but I never seem to be going anywhere that has them. This post is perfect for today b/c Moses and I are dancing and cleaning!


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Following the success of the Tampa TopGolf event in February, the FBMA Board of Directors decided to have one in Jacksonville. Our FBMA members came out in an overwhelming response to support the event and helped raise over $2,000 for FBMA's charity, Give Kids the World.
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2018 Florida Legislature - Week Eight Feb. 26 - March 3, 2018
Week Eight at the Capitol
Two specific sections of the Federal Motor Carrier Safety Regulations (FMCSRs) prohib...