Before Sunset 2004

One of my most favorite movies ever :)

Celine: The concept is absurd. The idea that we can only be complete with another person is evil! Right?

Celine ,



Jesse ,

On a difftrent wave length .........Life

... and in the end, there is nothing left, except a shell surrounding emptiness and loneliness, a core of pain ..Vain.

The Lion in winter - 1968

Regis regum rectissimi
prope est dies domini
dies irae et vindictae,

tenebrarum et nebulae,
diesque mirabilium
tonitruorum fortium,
dies quoque angustiae
maeroris ac tristitiae
=
Near is the day of the lord, most righteous king of kings. The day of wrath and vengeance, of gloom and darkness.
And the day of extraordinary, powerful thunder. Also the day of distress, lamentation and sorrow.


...........................
Henry II: My life, when it is written, will read better than it lived. Henry Fitz-Empress, first Plantagenet, a king at twenty-one, the ablest soldier of an able time. He led men well, he cared for justice when he could and ruled, for thirty years, a state as great as Charlemagne's. He married out of love, a woman out of legend. Not in Alexandria, or Rome, or Camelot has there been such a queen. She bore him many children. But no sons. King Henry had no sons. He had three whiskered things but he disowned them 

Henry II: [to his sons] You're not mine! We're not connected! I deny you! None of you will get my crown, I leave you nothing and I wish you plague! May all your children breach and die! 

Henry II: [storms out the corridor, turns and looks back] My Boys are gone 

Henry II: [he starts unsteadily down the corridor] I've lost my boys 

Henry II: [he stops, glares towards the Deity] You dare to damn me, do You? Well, I damn you back 

Henry II: [like a biblical figure, shaking his fist to the sky] GODDAMN YOU! 

Henry II: [moving blindly down the corridor again] My boys are gone. I've lost my boys. Oh, Jesus, all my boys... 

[collapses, weeping on the stairs] 

Right ! :)

شيكولاتة و فراولة ......إكتشاف أهداف

أهداف سويف .. للأسف ..اكتشفتها دلوقتى بس مع أنى أعرف الأسم من سنوات...سبب التأخير ...منهم لله بقى الكاتبات العربيات المقيمات فى الغرب (والشرق)اللى سببوا لى عقدة نفسية بنسبة 99.9% من طريقة وفكر و اسلوب كتاباتهم (الأنثوية ) اللى تصب فى اتجاه واحد .عقد نفسية مركبة من مجتمع شرقى ذكورى !!.لكن الحمد لله أنى ما استسلمتش للستيريوتيبنج ..أعطيت نفسى قبل ما أعطيها فرصة للتعرف عليها

أهداف .. من روايتها الوحيدة اللى قرأتها لها - حتى الان واللى هاتزيد فى الفترة القادمة إن شاء الله - اقدر أقول (كقارئة على قد الحال ) أنها على الأقل أسلوبها لا يتسم بكآبة و أحباط وكبت و تعقيد أغلب الباقيات...اللى أحسيته من روايتها انها شخصية مشرقة عاقلة متأملة ومطلعة..لها القدرة أولا و أخيرا على الكتابة وتوصيل اقوى الأفكار برقة قلما تتوفر فى زمن كفرت أنا فيه بالكُتاب الجدد -تقريبا كلهم - بعد ما اصبح الأجود بيقيم على أساس قوة (الرزعة- مش لاقية كلمة دلوقتى مناسبة اكثر - الرزعة .. الهبدة .. الخبطة ..كده يعنى ) سواء فى الاسلوب أو الكلمة او الصورة



خارطة الحب ..روايتها المنشورة 1999 بالإنجليزية والمعاد نشرها فى مصر بالعربية فى 2010 كانت (لحسن الحظ ) هى أصلح كتاب أقرؤه فى هذه الفترة على ما أعتقد .اشتريته من فترة لكن كبره - 702 صفحة وكونه مكتوب بواسطة كاتبة وحالتى العامة اخروا فكرة أن أبدأ القراءة فيه لحد اسبوع فات ..اجازة شم النسيم ... اسبوع فى الخلاء بعيد جدا عن أى حاجة (وضع مشابه لمشهد هام فى الرواية) . أخدته فى الشنطة مع رواية إنجليزية و كتاب دينى و حسب الوضع كان واحد من الثلاثة هايخلص .بدأت قراءة خارطة الحب ... و خلال أربع أيام كانت أنتهت .
انا سعيدة جدا ...أولا لأن من سنين مفيش حاجة أستفزتنى أكتب عنها لأنى حبيتها كده و عاوزة اشاركها مع ناس كثير
لأن من زمااااااان مفيش حاجة أجبرتنى اقرأها بالشراهة دى .. 250-300 صفحة فى يوم
لأن من فترة مفيش حاجة ألحت علي أفكارى حتى و هى بعيدة عنى بالقوة دى
لأن من فترة مفيش حاجة اسعدتنى وانا أمر خلالها بالأسلوب أو الصورة زى كلمات اهداف فى الرواية
لأنى كنت محتاجة شئ يأخذنى بعيدا عن الأوضاع الحالية وفى نفس الوقت لا يبعدنى عنها !!
ولأن من زمان مفيش حاجة خلتنى حسيت بأحاسيس غريبة وأنا باقرأها زى الرواية دى ..معرفش ليه أحسيت فى لحظات كثير بطعم ولون الشيكولاتة الغامقة مع عصير فراولة باللبن .متعة مع مرارة مع تفاؤل حلو ..دوامة عاوزاها تستمر لمالا نهاية
من زمان مفيش حاجة كنت كل ما أقرب من نهايتها ينتابنى احساس الحزن أنها ها تنتهى
الرواية دى مش قصص حب و لا قصص كفاح ولا قصص صراع بين عالمين ..هى خليط جميل من عوالم متوازية و متقاطعة .. من أزمنة متباعدة ومتداخلة ... من أماكن كانت أو هاتكون...من ماضينا و حاضرنا و مستقبلنا ... أحنا ...الفرد و الجماعة
ممكن أكون مغالية فى رد فعلى للرواية بس ده انطباعى الشخصى ..وكثير جدا بعين الخيال أثناء القراءة تخيلتها متحولة لفيلم او مسلسل ..بالضبط تخيلت ألوان فيلم المريض الأنجليزى. .وانتاج زيه كده ..يمكن الرابط بينهم هى مصر! يمكن طريقة غزل شخصيات خيالية مع شخصيات و احداث حقيقية !! ..يمكن الرابط بينهم هم الأنسان فى كل مكان .بس لو هايبهدلوا النص ولا صورة الأشخاص ..ياريت بلاش :) أنا متنازلة عن الفيلم ده

بسبب حماسى كمان قررت اقتبس سطور من كلام شخصيات الرواية و اضيفها للبوست ده يمكن تحمس باقى الناس

أمل (1997): على أنى أعرف كيف انتهت الحكاية ، ولا أظن أن هذا مهم ، فنحن دائما نعرف نهاية القصة ، أما ما نجهله فهو ما يحدث فى الطريق إلى النهاية

آنا (1901): مستر يونج ،وهو مؤرخ ، رأيه أن المصريين لهم شخصية مصرية فعلا لكنهم لم يعوها بعد . وذكر حركة عرابي باشا ( التى طالما سمعتك تتحدث عنها ) كدليل على وجود هذه الشخصية - وكان هذا الحديث على درجة من الميتافيزيقية لا يرتاح لها مستر بويل....

أمل (1997): كنت أحب أمي وعشت معها 22 سنة ، لكن يبدو لى اليوم أني لم أدرك منها إلا طرفا ، ولم أفهمها جيدا .ليتني أنصت جيدا إلى فحوى حديثها ، ليتها خلفت لي شيئا منها ، رسالة مثلا كتبتها فى أمسية هادئة وهى وحدها ، رسالة أقرؤها فيما بعد وقد كبرت واصبحت أقدر على الفهم . لم أفهم حقا إلا فيما بعد ،بعد سنوات وسنوات عندما تملكتنى الحاجة إلى العودة،..............عندئذ فقط أدركت كيف يغمرك الشوق إلى مكان فلا تملك إلا أن تعود- كما فعلت أنا - وتلتقط من المدينة أجزاء هنا و هناك لتشكل منها المكان الذي عرفته يوما ، ولكن ما العمل إذا استحالت العودة؟ـ

شريف البارودى (1901): الفرق كبير ،لقد تصرفوا فى حدود القانون، وتصرفتم أنتم خارج القانون، تريدون أن تضمنوا محاكمة عادلة لحسني بك ؟ أن تسير الأمور بالقانون ؟ بالخروج على القانون وكسره؟
- يا باشا القانون يخدم الإنجليز
- القانون لا يخدم أحدا، يمكن أن يُلوَى القانون، ويمكن التحايل عليه ، لكن إذا كنا نريد أن يحترم الإنجليز ما لدينا من قانون لا يصح لنا أن نقوم فجأة و ننحى القانون و نقول : تصرفنا هذه المرة بدون الرجوع إليه

إيزابل ( 1997) : ماذا عن الأصوليين ؟ أين دورهم فى هذا كله، هل يمكن أن نقول أنهم يتحدثون بصوت الشعب ؟
يرد الدكتور رمزي: لا أهمية لهؤلاء المتطرفين . ما يحتاجون إليه فعلا هو لقمة العيش و مكان للسكن.
يقول محجوب : هم الوحيدون الموجودون فعلا فى الساحة ، هل يمكن لأحدنا أن يفسر كيف تمكنوا من إحتلال تلك المساحة الواسعة؟
ترد دينا : الأحزاب الأخرى ضربت جميعها ، عشنا خمسين عاما من غياب الديمقراطية .
يقاطعها مصطفى الشرقاوى : لقد ضربوا مثل غيرهم من الأحزاب ، واضطروا إلى العمل فى الخفاء لكنهم عادوا ، قُتِل قادتهم فأتخذوا قادة جددا، بان الإحتيال فى كثير من مشروعاتهم الإقتصادية لكن مصداقيتهم لم تتأثر ، يقتل شبابهم كل يوم فيجندون شبابا جددا، لن يختفوا من الساحة، وصلوا إلى حد الإستيلاء على منبر اليسار ومصطلحه ، ويتحدثون عن العدالة الإجتماعية.
........
تسألت إيزابل فى حذر: هل يمكن أن يصلوا إلى الحكم فى إنتخابات حرة ؟

شريف البارودي( 1901) : إذن أخبرينى .ما رأيك ؟ أيهما أفضل ؟ أن نختار الفعل وقد نرتكب خطأ مميتا ، أم نقعد عنه ونموت - على أي حال - موتا بطيئا ؟
فكرت ، حاولت أن أفاضل ، لكن الأمر كان صعبا مع الرعشة التى تملكتني ، و فى وقفته أمامى ، طويل قوي يسد على النظر فلا أرى سواه . اخيرا نطقت : أظن أن عليك أن تعرف نفسك أولا قبل كل شئ.
- هى إذن حكيمة بالإضافة إلى جمالها وصلابة رأسها .

آنا ( 1901) : عند ذكر اسم كرومر أمام ليلى تحجر التعبير في وجهها ولما ألححت عليها فى السؤال قالت : لورد كرومر رجل وطني يقوم على خدمة بلده ، نحن نفهم هذا لكن يجب ألا يتظاهر بانه يخدم مصر .

’’وماذا لو كنت تخترعها لنفسك ؟ ما المشكلة ؟ إننا جميعا يخترع بعضنا بعضا إلى حد ما ،، ينحني يعقوب أرتين باشا ويقدم له سيجارا .................
- كان واضحا لى أنها تخترع لى شخصية : تضيف لها الملامح ونحن نتقدم فى الرحلة - يشعل شريف باشا السيجار ويسحب نفسا عميقا عدة مرات .
......
هل بمقدوره يوما أن يعرفها حقا ؟ أم يقدر لهما أن يتمسك كل منهما بما تخيله عن الآخر فتضحى حياتهما معا أشد وحشة من العيش بإنفراد؟
- إننا نتحدث معا بالفرنسية ،فلا هى تتحدث لغتى، و لا أنا أتحدث لغتها
يرد إسماعيل صبري في تأمل : ربما هذا أحسن ! تبذل مجهودا تتأكد أنك تفهمها وأنها تفهمك . فى بعض الأحيان أرى أننا نفترض أننا نعني نفس الشئ لمجرد أننا نستخدم نفس الألفاظ

أمل (1997) أقول : سأفعل ما بيدي، سأعيش فى طواسي و أرعى الأرض بنفسي
- وتعتقدين أن هذا سيساعد مصر؟
يبدو أنه لا يصدق ما يسمعه
- ترعين قطعة أرض و تسعدين قلة من الفلاحين ؟
- سأعيد تشغيل الوحدة الصحية
- وستقولين إنك ستعلمينهم النسيج لينسجوا قماشهم بأنفسهم
- وسأعيد فتح المدرسة

آنا ( 1901) : وتبرز على الساحة اليوم فئات أخرى : مثلا أناس كان من الممكن أن يتقبلوا تأسيس التعليم المدني أو الإستغناء تدريجيا عن الحجاب لكنهم اليوم يعارضون هذه التطورات لشعورهم بالحاجة إلى التمسك بقيمهم وتقاليدهم الموروثة فى وجه الاحتلال . وفى نفس الوقت يجد الواقفون في صف التغير و التطور أنفسهم مضطرين دوما إلى درء شبهة الضلوع مع الإنجليز.

آنا (1905) : ...على أنى أعتقد الأن ان احتياج المصريين لأن يتحدث الإنجليز باسمهم يشكل نقطة ضعف ، فهناك من يتسالون كيف يمكن للمصريين أن يحكموا أنفسهم إذا كانوا عاجزين عن شرح قضاياهم؟ والواقع أنهم لا يستطيعون الكلام لأنهم لا يجدون منبرا للحديث ، ولصعوبات اللغة التي تواجههم، ولا أعنى بهذا مجرد القدرة على ترجمة الخطاب العربي إلى الإنجليزية ، بل القدرة على الحديث كما يتحدث الإنجليز أنفسهم، عندئذ فقط تظهر عدالة قضيتهم للسامعين ، إذا نزع عنها رداء المصطلح الاجنبي.

آنا ( 1902) - تتعلم العربية : حب ، أحب ، يحب . عشق يعنى حب ربط أثنين معا ، شغف هو حب يعشش فى حجرات القلب ، هيام هو حب يطوف الأرض ، تيه يعنى حب تفقد فيه نفسك .، ولـٌَه هو حب يحمل الأسى فى طياته ، صبابة تعنى حب ينضح من المسام ، هوى هو حب يشترك بالاسم مع الهواء ومع السقوط ، والغرام هو حب على استعداد لدفع الثمن . ما أكثر ما تعلمت فى السنة الماضية! ليس فى مقدوري أن أصف كل ما تعلمته.

آنا ( 1911) : حاولت، حاولت بصدق أن اخبرها . لكنها لا تستطيع - أو لا تريد - أن تفهم أو تخلى عن الأمل . إنها تنتظره فى كل لحظة

كلمة اخيرة : الترجمة ... أنا اتحاشى ما استطعت قراءة شئ مترجم. فى أحيان كثيرة أصاب بإحباط لتخيلى أمكانية الوصول لنص مترجم أجود .. هنا الترجمة لم احس بها عائقا على الإطلاق لدرجة تصورى أن الرواية أصلا مكتوبة بالعربية . المترجمة هنا للصدفة أو حسن الحظ هى والدة الكاتبة . د. فاطمة موسى أستاذة الأدب الإنجليزى بجامعة القاهرة

8 1/2 (1963)

Guido: My Dears... Happiness consists of being able to tell the truth without hurting anyone.

***

Guido: I thought my ideas were so clear. I wanted to make an honest film. No lies whatsoever. I thought I had something so simple to say. Something useful to everybody. A film that could help bury forever all those dead things we carry within ourselves. Instead, I'm the one without the courage to bury anything at all. When did I go wrong? I really have nothing to say, but I want to say it all the same.

***

Guido: The truth is: I do not know... I seek... I have not yet found. Only with this in mind can I feel alive and look at you without shame.

***

Guido: Could you walk out on everything and start all over again? Could you choose one single thing, and be faithful to it? Could you make it the one thing that gives your life meaning... just because you believe in it? Could you do that?"
Claudia: I don't know... could you?"
Guido: No, the character I'm thinking of couldn't. He wants to possess and devour everything. He can't pass anything up. He's afraid he'll miss something. He's drained.
Claudia: That's how the film ends?
Guido: No, that's how it begins. Then he meets a girl at the springs. She gives him water to heal him. She's beautiful... young, yet ancient... child, yet already a woman... authentic, complete. It's obvious that she could be his salvation.

***

Guido: Accept me as I am. Only then can we discover each other.

***

Claudia: I don't understand. He meets a girl that can give him a new life and he pushes her away?
Guido: Because he no longer believes in it.
Claudia: Because he doesn't know how to love.
Guido: Because it isn't true that a woman can change a man.
Claudia: Because he doesn't know how to love.
Guido: And above all because I don't feel like telling another pile of lies.
Claudia: Because he doesn't know how to love.

***

Guido: All the confusion of my life... has been a reflection of myself! Myself as I am, not as I'd like to be.

..............

Sgt. Barnes: Shut up! Shut up and take the pain! Take the pain!

to say again...

” But better die than live mechanically a life that is a repetition of repetitions.”

D.H. Lawrence

قـصـة مـدينتيـن

لأول مرة تقريبا هأكتب عن فيلم أجنبى بالعربى ... من صغري مش بحب قصة و لا أى نسخة درامية من رواية تشارلز ديكنز المشهورة قصة مدينتين. من طفولتى المبكرة وانا بأ تابع الأفلام بجميع أنواعها كوميدى تراجيدى تاريخى حربي وغيرها لكن قصة مدينتين بالذات عمرها ما لاقت قبول عندى إطلاقا . لما فكرت كذا مرة ليه أعتقد الإجابة كانت غوغائية الثورة و الإعدامات - الرواية عن ما قبل و ما بعد الثورة الفرنسية فى القرن ال 18 - الربع الأخير من القرن . فيه سوداوية فى القصة دى بتنعكس على أى نسخة درامية منها بطريقة مش بأتقبلها مع انى أنفى عن نفسى صفة الرقة ورفاهة الإحساس على الأقل فيما يختص بالأفلام .الأسم لما يجئ ذكره بأفتكر على طول منظر واحد قاعة المحكمة و فيها العامة وخصوصا السيدة اللى بتكتب اسماء اعداء الشعب على التريكو اللى قعدت سنين تشتغله و شخص من الارستقراط تقريبا هو اللى بيتحاكم. عمري ما فكرت أقرأ الرواية مكتوبة وعمرى ما تابعت للنهاية أى فيلم أو مسلسل عنها . حاولت و مقدرتش .تفاديت حاجة بتوجع قلبى .

لكن من يومين أو ثلاثة ومع أحداث كتير بقرأ عنها ما خطرش فى بالى غير كلمتين ... قصة مدينتين . حسيت أنى عاوزة أقرأها ؟؟ـ

خايفة أحسن أعيش الفيلم !!

الإقتباس الوحيد اللى ها أحطه هايكون من نسخة الفيلم اللى أعتقد أنها كانت بتعرض و أنا صغيرة - نسخة 1935

[after the Marquis' coach runs over and kills a peasant child, he gets out of the coach and speaks to the onlookers]
Marquis St. Evremonde: It's extraordinary to me that you people cannot take care of yourselves and your children. One or the other of you is forever in the way. How do you know what injury you might do to my horses?

ترجمته بتقول

[بعد ما عربة الماركيز تقتل طفل صغير ابن فلاح . يخرج الماركيز من العربة ويكلم الناظرين]

الماركيز سان ايفرموند : قمة الغرابة بالنسبة لى انكم ايها الناس لا تستطيعون العناية بأنفسكم و أولادكم !؟ واحد منكم دائما يكون فى الطريق . ولا تدرون الإصابة التى يمكن أن تلحقوها بأحصنتى !!!!!

Of cities (2) - Before Sunset (2004)

My idea of Paris is visualized in this movie. In fact this movie visualized alot of things I read reagarding Paris, not at night, but Paris of the daytime.
The movie itself is a different experience because of the story, it's is a sequel of another movie made 9 years earlier, about 2 main charcters in collage meet for one night in Vienna, and after 9 years they meet by a hopeful accident in Paris, and spend the day walking and talking around this beautiful city. The dialouge and acting is something that made me believe for a moment that they were talking about their real selves.
It is the kind of a simple yet complex little movie with a great feelings behind it. I recomend it for anyone in their early 30s .

Journalist #1: Do you consider the book to be autobiographical?
Jesse: Uh, well, I mean... isn't everything autobiographical?

Jesse: [about his marriage] I feel like I'm running a small nursery with someone I used to date.

Jesse: I'm designed to feel slightly dissatisfied!

Jesse: Maybe what I'm saying is, is the world might be evolving the way a person evolves. Right? Like, I mean, me for example. Am I getting worse? Am I improving? I don't know. When I was younger, I was healthier, but I was, uh, whacked with insecurity, you know? Now I'm older and my problems are deeper, but I'm more equipped to handle them.

Jesse: Life's hard. It's supposed to be. If we didn't suffer, we'd never learn anything.

Jesse: You want to know why I wrote that stupid book?
Celine: Why?
Jesse: So that you might come to a reading in Paris and I could walk up to you and ask, "Where the fuck were you?"
Celine: [laughing] No - you thought I'd be here today?
Jesse: I'm serious. I think I wrote it, in a way, to try to find you.
Celine: Okay, that's - I know that's not true, but that's sweet of you to say.
Jesse: I think it is true.

Jesse: What do you think were the chances of us ever meeting again?
Celine: After that December, I'd say almost zero. But we're not real anyway, right? We're just, uh, characters in that old lady's dream. She's on her deathbed, fantasizing about her youth. So of course we had to meet again.

Jesse: Oh, God, why weren't you there, in Vienna?
Celine: I told you why.
Jesse: Well, I know why, I just - I wish you would have been. Our lives might have been so much different.
Celine: You think so?
Jesse: I actually do.
Celine: Maybe not. Maybe, we would have hated each other eventually.
Jesse: Oh what, like we hate each other now?
Celine: You know, maybe we're - we're only good at brief encounters, walking around in European cities in warm climate.

Jesse: Oh, God, why didn't we exchange phone numbers and stuff? Why didn't we do that?
Celine: Because we were young and stupid.
Jesse: Do you think we still are?
Celine: I guess when you're young, you just believe there'll be many people with whom you'll connect with. Later in life, you realize it only happens a few times.
Jesse: And you can screw it up, you know, misconnect.

Celine: So what's it like to be married? You haven't talked much about that.
Jesse: I haven't? How weird.

Celine: I see it in the people that do the real work, and what's sad in a way is that the people that are the most giving, hardworking, and capable of making this world better, usually don't have the ego and ambition to be a leader.

Celine: I was having this awful nightmare that I was 32. And then I woke up and I was 23. So relieved. And then I woke up for real, and I was 32

Celine: You can never replace anyone because everyone is made up of such beautiful specific details.

Celine: The concept is absurd. The idea that we can only be complete with another person is evil! Right?

Celine: Memory is a wonderful thing if you don't have to deal with the past.

The night of the Iguana (1964)

I don't know, but I can name very few characters that shaked me strong inside in all the movies I've watched in my life. But of all those characters played by great actors and actresses, It's Hannah Jelkes [Deborah Kerr's character] that shaked me to the bones just by looking at her face in this movie!
A movie about humans in quest for love, believe ... peace! ... in quest for relief ... relief of body, mind and soul.
For me it's hard to quote this movie, to quote it is to put at least half the dialogue in here. And it will humble the way the lines are delivered, so, I won't do it this time except for a small part of the poem delivered by Hannah grandpa.

The least I can say: I love this movie.



How calmly does the olive branch
observe the sky begin to blanch :
without a cry , without a prayer ;
with no betrayal of despair.

Sometime while light obscures the tree ,
the zenith of its life will be :
gone , past , forever .
And from thence, a second history will commence :

The Seventh Seal, 1957

A swedish movie I was introduced to the translated quotes of which a couple of years ago, by a dear friend, and I liked them, But yesterday I watched it for the first time, and liked it much. Though I don't understand the biblical verses that caused the title but I liked the rest of the quotes very much, a movie with a stunning atmosphere that I've never dealt with before!.

[Antonius Block lets Death choose which chess pieces to play]
Antonius Block: You drew black.
Death: Appropriate, don't you think?

Antonius Block: I met Death today. We are playing chess.

Antonius Block: Who are you?
Death: I am Death.
Antonius Block: Have you come for me?
Death: I have long walked by your side.
Antonius Block: So I have noticed.
Death: Are you ready?
Antonius Block: My body is ready, but I am not.

Antonius Block: I want to confess as best I can, but my heart is void. The void is a mirror. I see my face and feel loathing and horror. My indifference to men has shut me out. I live now in a world of ghosts, a prisoner in my dreams.

Antonius Block: Nothing escapes you!
Death: Nothing escapes me. No one escapes me.

Antonius Block: Have you met the devil? I want to meet him too.
Witch: Why do you want to do that?
Antonius Block: I want to ask him about God. He must know. He, if anyone.

Death: Don't you ever stop asking?
Antonius Block: No. I never stop.
Death: But you're not getting an answer.

Antonius Block: Faith is a torment. It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call.

Mia: You don't look so happy.
Antonius Block: No.
Mia: Are you tired?
Antonius Block: Yes. I have boring company.
Mia: You mean your squire?
Antonius Block: No, not him.
Mia: Who do you mean, then?
Antonius Block: Myself.

Antonius Block: Faith is a torment. It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call.

Mia: You don't look so happy.
Antonius Block: No.
Mia: Are you tired?
Antonius Block: Yes. I have boring company.
Mia: You mean your squire?
Antonius Block: No, not him.
Mia: Who do you mean, then?
Antonius Block: Myself.

[Death approaches Antonius Block]
Antonius Block: Wait a moment.
Death: You all say that. But I grant no reprieves.

[In response to Death coming for him]
Jonas Skat: Is there no exemption for actors?

Jons: Love is the blackest of all plagues... if one could die of it, there would be some pleasure in love, but you don't die of it.

Jons: Love is as contagious as a cold. It eats away at your strength, morale... If everything is imperfect in this world, love is perfect in its imperfection.
Blacksmith Plog: You're happy, you with your oily words. You believe your own drivel.
Jons: Believe it? Who said? But I love to give pieces of advice.

Jons: Only fools die of love.

Jons: Our crusade was such madness that only a real idealist could have thought it up.

Jons: Who will take care of that child. God, the devil, the nothingness? The nothingness, perhaps?
Antonius Block: It can't be so!

[the church painter explains why he is painting a mural about death]
Church Painter: Why should one always make people happy? It might be a good idea to scare them once in a while.
Jons: Then they'll close their eyes and refuse to look.
Church Painter: They'll look. A skull is more interesting than a naked woman.
Jons: If you do scare them...
Church Painter: Then they think.
Jons: And then?
Church Painter: They'll become more scared.

Antonius Block: Is it so terribly inconceivable to comprehend God with one's senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe? Why can't I kill God in me? Why does He live on in me in a humiliating way - despite my wanting to evict Him from my heart? Why is He, despite all, a mocking reality I can't be rid of?

Antonius Block: I want knowledge! Not faith, not assumptions, but knowledge. I want God to stretch out His hand, uncover His face and speak to me.
Death: But He remains silent.
Antonius Block: I call out to Him in the darkness. But it's as if no one was there.
Death: Perhaps there isn't anyone.
Antonius Block: Then life is a preposterous horror. No man can live faced with Death, knowing everything's nothingness.
Death: Most people think neither of death nor nothingness.
Antonius Block: But one day you stand at the edge of life and face darkness.
Death: That day.
Antonius Block: I understand what you mean.

Jons: But feel, to the very end, the triumph of being alive!

A Game

"You play the hand you're dealt , I think the game's worthwhile."

Christopher Reeve

12 angry men, 1957

Juror #10: Bright? He's a common ignorant slob. He don't even speak good English.
Juror #11: Doesn't even speak good English.

Juror #2: It's hard to put into words. I just think he's guilty. I thought it was obvious from the word, 'Go'. Nobody proved otherwise.
Juror #8: Nobody has to prove otherwise. The burden of proof is on the prosecution. The defendant doesn't even have to open his mouth. That's in the Constitution.

Juror #8: Look, there was one alleged eye witness to this killing. Someone else claims he heard the killing, saw the boy run out afterwards and there was a lot of circumstantial evidence. But, actually, those two witnesses were the entire case for the prosecution. Supposing they're wrong?
Juror #12: What do you mean, supposing they're wrong? What's the point of having witnesses at all?
Juror #8: Could they be wrong?
Juror #12: What are you trying to say? Those people sat on the stand under oath.
Juror #8: They're only people. People make mistakes. Could they be wrong?
Juror #12: Well, no, I don't think so.
Juror #8: Do you 'know' so?
Juror #12: Oh, come on. Nobody can know a thing like that. This isn't an exact science.
Juror #8: That's right, it isn't.

Juror #3: You're talking about a matter of seconds. Nobody can be that accurate.
Juror #8: Well I think that testimony that can put a boy into the electric chair SHOULD be that accurate.

[after Juror #10 explains that he believes the boy is guilty because of the testimony of the woman across the street]
Juror #8: I'd like to ask you something: you don't believe the boy's story; how come you believe the woman's? She's one of 'them', too, isn't she?
Juror #10: You're a pretty smart fella, aren't you?

[after another vote is taken, the count is six to six]
Juror #10: Six to six... I'm telling you, some of you people in here must be out of your minds. A kid like that...
Juror #9: I don't think the kind of boy he is has anything to do with it. The facts are supposed to determine the case.
Juror #10: Don't give me that. I'm sick and tired of facts! You can twist 'em anyway you like, you know what I mean?
Juror #9: That's exactly the point this gentleman has been making.
[indicates Juror #8]


Juror #8: It's always difficult to keep personal prejudice out of a thing like this. And wherever you run into it, prejudice always obscures the truth. I don't really know what the truth is. I don't suppose anybody will ever really know. Nine of us now seem to feel that the defendant is innocent, but we're just gambling on probabilities - we may be wrong. We may be trying to let a guilty man go free, I don't know. Nobody really can. But we have a reasonable doubt, and that's something that's very valuable in our system. No jury can declare a man guilty unless it's SURE. We nine can't understand how you three are still so sure. Maybe you can tell us.

: in the void

And thus far it was a life: in the void. For the rest it was non-existence. Wragby was there, the servants. . .but spectral, not really existing. Connie went for walks in the park, and in the woods that joined the park, and enjoyed the solitude and the mystery, kicked the brown leaves of autumn, and picked the primroses of spring. But it was all a dream; or rather it was like the simulacrum of reality. The oak-leaves were to her like oak-leaves seen ruffling in a mirror, she herself was a figure somebody had read about, picking primroses that were only shadows or memories, or words. No substance to her or anything. . .no touch, no contact! Only this life with Clifford, this endless spinning of webs of yarn, of the minutiae of consciousness, these stories Sir Malcolm said there was nothing in, and they wouldn't last. Why should there be anything in them, why should they last? Sufficient unto the day is the evil thereof. Sufficient unto the moment is the appearance of reality.

The world is supposed to be full of possibilities, but they narrow down to pretty few in most personal experience. There's lots of good fish in the sea. . .maybe. . .but the vast masses seem to be mackerel or herring, and if you're not mackerel or herring yourself you are likely to find very few good fish in the sea.


Time went on. Whatever happened, nothing happened, because she was so beautifully out of contact. She and Clifford lived in their ideas and his books. She entertained. . .there were always people in the house. Time went on as the clock does, half past eight instead of half past seven.

D.H. Lawrence, Lady Chatterley's Lover

المدينة ... كفافيس

قلت: سأذهب إلى أرض ثانية وبحر آخر

إلى مدينة أخرى تكون أفضل من تلك المدينة

كل محاولاتي مقضي عليها بالفشل

وقلبي دفن كالميت

إلى متى سيكون فكري حزينا؟ أينما جلت بعيني،

أينما نظرت حولي بإمعان، رأيت خرائب سوداء من حياتي

حيث العديد من السنين قضيت وهدمت وبددت

لن تجد بلادا ولا بحورا أخرى فسوف تلاحقك المدينة

ستهيم في نفس الشوارع وستدركك الشيخوخة

في هذه الأحياء نفسها وفي البيوت ذاتها

سيدب الشيب إلى رأسك

وستصل دوما إلى هذه المدينة

لا تأمل في بقاع أخرى، ما من سفين من أجلك

وما من سبيل .. ما دمت قد خربت حياتك هنا

في هذا الركن الصغير .. فهي خراب أينما كنت في الوجود.

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إرجاع الفضل لأهله

^^^

نشنت يا فالح !!! ـ

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Curiosity did kill the cat !

Life imitating art & art imitating life, The Age of Innocence

Of my all time favorites, this is the right one to put today :) I need to watch it very soon.




Ellen Olenska: I knew you'd come.
Newland Archer: That shows you wanted me to.

Ellen Olenska: Newland. You couldn't be happy if it meant being cruel. If we act any other way I'll be making you act against what I love in you most. And I can't go back to that way of thinking. Don't you see? I can't love you unless I give you up.

Newland Archer: You gave me my first glimpse of a real life. Then you asked me to go on with the false one. No one can endure that.
Ellen Olenska: I'm enduring it.

Ellen Olenska: How can we be happy behind the backs of people who trust us?

Ellen Olenska: Is fashion such a serious consideration?
Newland Archer: Among those who have nothing more serious to consider.

Ellen Olenska: Is New York such a labyrinth? I thought it was all straight up and down like Fifth Avenue. All the cross streets numbered and big honest labels on everything.
Newland Archer: Everything is labeled, but everybody is not.

Ellen Olenska: I think we should look at reality, not dreams.
Newland Archer: I just want us to be together!
Ellen Olenska: I can't be your wife, Newland! Is it your idea that I should live with you as your mistress?
Newland Archer: I want... Somehow, I want to get away with you... and... and find a world where words like that don't exist!

Ted Archer: [on his mother]The day before she died, she asked to see me alone, remember? She said she knew we were safe with you and always would be because once when she asked you to, you gave up the thing you wanted most.
Newland Archer: [after a long pause] She never asked. She never asked me.

Ellen Olenska: They never knew what it meant to be tempted, but you did.

Newland Archer: [Last lines] Just say I'm old-fashioned. That will be enough. Go on, now.

For you will still be here tomorrow but your dreams may not

A phrase, from a song I used to love aloooong time ago, Father and Son by Boyzone.

Of all the lyrics of the song I loved this phrase the most, maybe making it one of my head banners or mottos to turn back to every once in a while, and I believed in it much. I may be believing in fate alot but I also believe that we need to really use the brain we're gifted. Today I remembered this phrase and thank God that I applied it in my life for the most important parts of it. In a way i'm sorry for some people who didn't, cause *I think* I know how hard we pay alot for the worng choices we make along the way.