Movie quotes in every day communication is not only innovative but also interesting and intriguing. I am fond of collecting cute quotes and sayings. Some people have a way with the so called quotes and sayings particularly sayings from their motherland. I too like communicating in quotes particularly with my cousin and my family. It adds spice to daily mundane routine. A quotation says in a few words what cannot be explained in a thousand words. Some cute quotes and sayings have the ability to make our day cheerful. I often read cute quotes when I am feeling low. The other day I read about creating happiness in our life to combat stress. What better way to add happiness in life than to share the thoughts of great personalities through their quotes and sayings. Thanks for sharing this with us. It is cute..this way of communicating. I have already started using 4 to 5 of your movies quotes mentioned here with my cousins.
Proust, unsurprisingly, wrote beautifully about music, and not just La sonate de Vinteuil. In the following passage he may as well be writing about Toscanini:
"At the Conservatoire concert yesterday, the pianist in the Mozart concerto was Saint-Saëns. Coming away, one met many people who had been disappointed and who, not knowing why this was so, gave different reasons for it; he had played too fast, he had played without expression, the music hadn't suited him. Well, here is the reason: it was because it had been truly beautiful. For true beauty is the only thing that cannot respond to what a romantic imagination anticipates. Everything else lives up to those preconceived ideas: dexterity is amazing, vulgarity, soothing, sensuousness, thrilling, claptrap, dazzling. But beauty which from the beginning of all things has been joined to truth in an eternal friendship has not got all these charms at its disposal.
In Saint-Saëns' playing there were no pianissimos where you feel you'll faint if they go on any longer, and which are cut off just in the nick of time by a forte, no broken chords sending instantaneous shivers down your back, none of those fortissimos which leave you bruised from head to foot, as if you had been surf-bathing, none of those pianist's writhings and tossed back locks of hair, which infect the purity of music with the sensuality of the dance, which appeal to the listener's senses, to her idle fancies, and supply her with an element of pleasure, and a reason for enthusiasm, the framework of what she will remember and the substance of what she will afterwards talk about. There was none of this in Saint-Saëns' playing. But his playing was regal. Now kings do not make their appearance wearing golden crowns and being carried in palanquins on slaves' shoulders. It is by the way they bow, smile, hold out a hand, offer a chair, ask a question, or reply, that great kings, like great actors, can be recognised. It is the parvenu who is stuck up, the charlatan who shows off. But the king's grace and nobility are so natural to him that his nobility is no more astonishing to us than the nobility of an oak-tree nor his grace than the grace of a rose-wand."
It was fantastic! I had no idea the actual story was so interesting, and all of the extra information Berton adds in to flesh out the story and "set the stage" is a testament to his skill as a writer.
Great thanks, I will, soon. I keep thinking that there's gotta be a better version of Schubert's 9th that I haven't heard yet, somewhere. I'll check it out.
Of course Freddy Mercury and George Michael... Its diffreance between singer and song writter or...But anyway Frank Sinatra doesn't deserve number 1..cmon..do you know anything about the music..he's all name
I've got a problem with one entry on this list. I used to list "Tavaszi zápor" (1932), which is also listed on the Rosenbaum list on MUBI. However, other sources list "Marie, légende hongroise" (1933), for example on icheckmovies.com. Both movies are actually the same, but shot in a different language. The first one is Hungarian, the second French. It's unclear which version should be on the list. If anyone has the original book by Rosenbaum, please look it up and let me know if he says anything about it. For now, I listed them together on one line.
If you ever find time (I realize you have a lot on your plate right now!), give Furtwängler's 1951 recording of Schubert's 9th a spin. It may increase your already huge appreciation for that work.
Eep I've only read 14 books this year! According to Goodreads, I am at least 6 behind my goal. I've been going for quality over quantity this year, but despite choosing many well-loved and perennial classics, I haven't come across any five-star fiction. Goals aside, the whole point of this year is to find some new favourites... and I have not even come close! Well,back to work!
Before reading this, I had no idea what the CPR actually meant for Canada. I found the writing engaging and the events involved fantastic; such that I am sure all my acquaintances, family, and coworkers were sick of hearing the minutiae involved. Before, I thought it was simple as building a long railroad across an already united country. Now, I feel new respect and pride for the men involved, and I understand why we name so many roads after Van Horne, Macdonald, Mackenzie, and all the other major players. I feel like a better Canadian, with a better understanding of what that means. And I find myself wondering why this wasn't covered at some point in my high school education?
I do not know. But shooting in the dark, I think Vertigo will continue in the top, Roger Ebert said that there comes a time when voters tired of always vote in the same film, Kane is 50 years at the top, many people who voted for him have died, soon the new voters are younger people who definitely will vote in the films of the decade 60-70. Leaving the old ones without vote. Also the fact that Hitchcock is british magazine and always cherish the directors of his country. I think in the next two editions, Apocalypse Now will grow, as well as the latest movies, but I see Apocalypse Now as the major listed among the latest movies. The Godfather was away but I see still standing reputation. Perhaps the two films in the top 20 maybe. Apocalypse Now was also well regarded among the directors.
I also assume that: 2001 may soon challenge Kane and Vertigo. Rules of the Game can drop 6-8 maybe. Tokyo Story and Sunrise could be just moments, I think the latter may fall out. Overall it is. Vertigo is now the king, Kane does not think back to the top soon, same thing happen to AFI The Godfather will replace Kane, 2017 or 2027, but is likely.
But one of the reasons why I think Vertigo remain in the top is the amount of votes.
1982 to 1992 he was on the rise but not a threat to Kane. In 2002 he came in dethroning 2 Rules of Game and The Godfather. 45 votes against 41. It was expected that this list he overcame equaled or Kane, but he was not exceeded by 5-10 votes were 34 votes, and a rise like the Vertigo, now that will not stop. Again kicking in the dark: I think 2022 will look like this:
Ok, so it isn't the art of his Ring itself, but rather his manner of which he expresses it that you dislike. Thanks for clearing that up for me. Sorry for the confusion, but when you threw around words like "pompous", "posturing" & "so histrionic and dry" I was getting the impression that you thought his Ring was an entirely self-serving and pretentious work of art (since art appreciation is subjective, I wouldn't object to your right to say that... though I definitely wouldn't agree with you!). As for the philosophical implications of his libretto. Let me just state that I evaluate music on purely musical grounds. No matter how involved or intertwined a written text maybe with a certain work of music, I still consider them distinctly separate realms of art. I realize how much this runs contrary to Wagner's principle of Gesamtkunstwerk. Oh well. I guess I'm not a true Wagnerite after all!
B-b-but I did not say anything about masking artistic depth, or sincerity, or any resemblance of such a statement. I said the manner, the style, the actual sounds that I hear are what I often find problematic, not the creative energy at work. The endless monumental tilt gets dull. Furthermore, I did not mention psychology (a dubious barometer for any artwork in any case, it would be asinine to dismiss The Illiad on such grounds). The dull philosophical (not, let me reiterate, sonic) writing is the only non-musical criticism I made, and it is based on the libretto (admittedly I have only seen the first three installments so the final ones may be different). Let me lastly, perhaps pedantocally, affirm that I am making no accusations, but simply personal observations. I accept Wagner was brilliant without a doubt--Tristan und Isolde is a favorite--but after spending some time with The Ring I've found it is not, as a whole, suited to my taste, although I think it hosts some very successful parts (I failed to mention the Immolation earlier and a good number of instrumental passages).
I initially thought you were alluding to a certain "monstrousness" in his aesthetic that many people find repellent. Though I'm not sure if I'd agree, there is an argument for this stance. Now I see you're just describing how overwrought, pompous and distasteful you find his Ring and in this case I simply cannot relate to you. The Ring may be intoxicatingly grandiose in nature, but none of it strikes me as histrionic. Nor do I feel that any of it is some sort of hollow facade to disguise some sort of lack of artistic sincerity and depth and that this music was, for the most part, self-glorifying. You accuse Wagner of philosophical posturing yet I find nothing pretentious about his Ring for it is endless in psychological depth - Wagner, along with Schopenhauer, has even been described by many scholars to be a precursor to Sigmond Frued. Bryan Magee writes "Wagner knew he was making the orchestra express the world of primitive, unbridled inchoate feeling below the level of conscious awareness." Friedrich Nietzsche writes "He knows of a chord which expresses those secret and weird midnight hours of the soul, when cause and effect seem to have fallen asunder." David Duball writes "Wagner brought the voice, in combination with the orchestra, to an undreamed-of height of expression. In merging his musical being with the timeless power of myth, Wagner tapped into repressed and unconscious aspects of the psyche. He felt no surprise that his music had the power to unhinge mentally unstable people, touching an exposed nerve." None of these descriptions gives one the impression of a composer who merely creates music with philosophical and psychological leanings as a way to draw attention to himself. However, the intensity and grandiloquence of the ring, for which you personally find off-putting, cannot be denied. But if you're put off by these qualities then, at this point, I think we can safely say it's just a matter of taste and that the Ring simply isn't for you.
Movie quotes in every day communication is not only innovative but also interesting and intriguing. I am fond of collecting cute quotes and sayings. Some people have a way with the so called quotes and sayings particularly sayings from their motherland. I too like communicating in quotes particularly with my cousin and my family. It adds spice to daily mundane routine. A quotation says in a few words what cannot be explained in a thousand words. Some cute quotes and sayings have the ability to make our day cheerful. I often read cute quotes when I am feeling low. The other day I read about creating happiness in our life to combat stress. What better way to add happiness in life than to share the thoughts of great personalities through their quotes and sayings. Thanks for sharing this with us. It is cute..this way of communicating. I have already started using 4 to 5 of your movies quotes mentioned here with my cousins.
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:) only doing my time period.
What? No Margaret Thatcher?
Proust, unsurprisingly, wrote beautifully about music, and not just La sonate de Vinteuil. In the following passage he may as well be writing about Toscanini:
"At the Conservatoire concert yesterday, the pianist in the Mozart concerto was Saint-Saëns. Coming away, one met many people who had been disappointed and who, not knowing why this was so, gave different reasons for it; he had played too fast, he had played without expression, the music hadn't suited him. Well, here is the reason: it was because it had been truly beautiful. For true beauty is the only thing that cannot respond to what a romantic imagination anticipates. Everything else lives up to those preconceived ideas: dexterity is amazing, vulgarity, soothing, sensuousness, thrilling, claptrap, dazzling. But beauty which from the beginning of all things has been joined to truth in an eternal friendship has not got all these charms at its disposal.
In Saint-Saëns' playing there were no pianissimos where you feel you'll faint if they go on any longer, and which are cut off just in the nick of time by a forte, no broken chords sending instantaneous shivers down your back, none of those fortissimos which leave you bruised from head to foot, as if you had been surf-bathing, none of those pianist's writhings and tossed back locks of hair, which infect the purity of music with the sensuality of the dance, which appeal to the listener's senses, to her idle fancies, and supply her with an element of pleasure, and a reason for enthusiasm, the framework of what she will remember and the substance of what she will afterwards talk about. There was none of this in Saint-Saëns' playing. But his playing was regal. Now kings do not make their appearance wearing golden crowns and being carried in palanquins on slaves' shoulders. It is by the way they bow, smile, hold out a hand, offer a chair, ask a question, or reply, that great kings, like great actors, can be recognised. It is the parvenu who is stuck up, the charlatan who shows off. But the king's grace and nobility are so natural to him that his nobility is no more astonishing to us than the nobility of an oak-tree nor his grace than the grace of a rose-wand."
Yay. I was afraid that sounded really really stupid, actually.
Only in snippits but I really really have to get around to it. Machaut's great.
6/10, I suppose?
I guess for it to be a top-notch four-track EP I'd cut it down to
-She Found Now
-Only Tomorrow
-New You
-Wonder 2.
Or something like that.
It was fantastic! I had no idea the actual story was so interesting, and all of the extra information Berton adds in to flesh out the story and "set the stage" is a testament to his skill as a writer.
it's Elements from Danny Tenaglia.
I have not. Are they as good?
Great thanks, I will, soon. I keep thinking that there's gotta be a better version of Schubert's 9th that I haven't heard yet, somewhere. I'll check it out.
JIM MORRISON!! Legend..Put him on second right behind Freddy :)
Pink Floyds David Gilmour and Roger Waters!! You forgot about Great Britain which I prefer!!! except Nirvana!
Of course Freddy Mercury and George Michael... Its diffreance between singer and song writter or...But anyway Frank Sinatra doesn't deserve number 1..cmon..do you know anything about the music..he's all name
Well, after some discussion on the ICM-forum and some extra info, I decided to list the French version.
I've got a problem with one entry on this list. I used to list "Tavaszi zápor" (1932), which is also listed on the Rosenbaum list on MUBI. However, other sources list "Marie, légende hongroise" (1933), for example on icheckmovies.com. Both movies are actually the same, but shot in a different language. The first one is Hungarian, the second French. It's unclear which version should be on the list. If anyone has the original book by Rosenbaum, please look it up and let me know if he says anything about it. For now, I listed them together on one line.
If you ever find time (I realize you have a lot on your plate right now!), give Furtwängler's 1951 recording of Schubert's 9th a spin. It may increase your already huge appreciation for that work.
I just saw that you read "The Last Spike". I'd never read Berton before but found this enjoyable because it was engaging. What did you think?
Eep I've only read 14 books this year! According to Goodreads, I am at least 6 behind my goal. I've been going for quality over quantity this year, but despite choosing many well-loved and perennial classics, I haven't come across any five-star fiction. Goals aside, the whole point of this year is to find some new favourites... and I have not even come close! Well,back to work!
The Last Spike
Before reading this, I had no idea what the CPR actually meant for Canada. I found the writing engaging and the events involved fantastic; such that I am sure all my acquaintances, family, and coworkers were sick of hearing the minutiae involved. Before, I thought it was simple as building a long railroad across an already united country. Now, I feel new respect and pride for the men involved, and I understand why we name so many roads after Van Horne, Macdonald, Mackenzie, and all the other major players. I feel like a better Canadian, with a better understanding of what that means. And I find myself wondering why this wasn't covered at some point in my high school education?
I do not know. But shooting in the dark, I think Vertigo will continue in the top, Roger Ebert said that there comes a time when voters tired of always vote in the same film, Kane is 50 years at the top, many people who voted for him have died, soon the new voters are younger people who definitely will vote in the films of the decade 60-70. Leaving the old ones without vote. Also the fact that Hitchcock is british magazine and always cherish the directors of his country. I think in the next two editions, Apocalypse Now will grow, as well as the latest movies, but I see Apocalypse Now as the major listed among the latest movies. The Godfather was away but I see still standing reputation. Perhaps the two films in the top 20 maybe. Apocalypse Now was also well regarded among the directors.
I also assume that: 2001 may soon challenge Kane and Vertigo. Rules of the Game can drop 6-8 maybe. Tokyo Story and Sunrise could be just moments, I think the latter may fall out. Overall it is. Vertigo is now the king, Kane does not think back to the top soon, same thing happen to AFI The Godfather will replace Kane, 2017 or 2027, but is likely.
But one of the reasons why I think Vertigo remain in the top is the amount of votes.
1982 to 1992 he was on the rise but not a threat to Kane. In 2002 he came in dethroning 2 Rules of Game and The Godfather. 45 votes against 41. It was expected that this list he overcame equaled or Kane, but he was not exceeded by 5-10 votes were 34 votes, and a rise like the Vertigo, now that will not stop. Again kicking in the dark: I think 2022 will look like this:
1.Vertigem - 285 votes
2.Kane - 236 votes
Ok, so it isn't the art of his Ring itself, but rather his manner of which he expresses it that you dislike. Thanks for clearing that up for me. Sorry for the confusion, but when you threw around words like "pompous", "posturing" & "so histrionic and dry" I was getting the impression that you thought his Ring was an entirely self-serving and pretentious work of art (since art appreciation is subjective, I wouldn't object to your right to say that... though I definitely wouldn't agree with you!). As for the philosophical implications of his libretto. Let me just state that I evaluate music on purely musical grounds. No matter how involved or intertwined a written text maybe with a certain work of music, I still consider them distinctly separate realms of art. I realize how much this runs contrary to Wagner's principle of Gesamtkunstwerk. Oh well. I guess I'm not a true Wagnerite after all!
B-b-but I did not say anything about masking artistic depth, or sincerity, or any resemblance of such a statement. I said the manner, the style, the actual sounds that I hear are what I often find problematic, not the creative energy at work. The endless monumental tilt gets dull. Furthermore, I did not mention psychology (a dubious barometer for any artwork in any case, it would be asinine to dismiss The Illiad on such grounds). The dull philosophical (not, let me reiterate, sonic) writing is the only non-musical criticism I made, and it is based on the libretto (admittedly I have only seen the first three installments so the final ones may be different). Let me lastly, perhaps pedantocally, affirm that I am making no accusations, but simply personal observations. I accept Wagner was brilliant without a doubt--Tristan und Isolde is a favorite--but after spending some time with The Ring I've found it is not, as a whole, suited to my taste, although I think it hosts some very successful parts (I failed to mention the Immolation earlier and a good number of instrumental passages).
I initially thought you were alluding to a certain "monstrousness" in his aesthetic that many people find repellent. Though I'm not sure if I'd agree, there is an argument for this stance. Now I see you're just describing how overwrought, pompous and distasteful you find his Ring and in this case I simply cannot relate to you. The Ring may be intoxicatingly grandiose in nature, but none of it strikes me as histrionic. Nor do I feel that any of it is some sort of hollow facade to disguise some sort of lack of artistic sincerity and depth and that this music was, for the most part, self-glorifying. You accuse Wagner of philosophical posturing yet I find nothing pretentious about his Ring for it is endless in psychological depth - Wagner, along with Schopenhauer, has even been described by many scholars to be a precursor to Sigmond Frued. Bryan Magee writes "Wagner knew he was making the orchestra express the world of primitive, unbridled inchoate feeling below the level of conscious awareness." Friedrich Nietzsche writes "He knows of a chord which expresses those secret and weird midnight hours of the soul, when cause and effect seem to have fallen asunder." David Duball writes "Wagner brought the voice, in combination with the orchestra, to an undreamed-of height of expression. In merging his musical being with the timeless power of myth, Wagner tapped into repressed and unconscious aspects of the psyche. He felt no surprise that his music had the power to unhinge mentally unstable people, touching an exposed nerve." None of these descriptions gives one the impression of a composer who merely creates music with philosophical and psychological leanings as a way to draw attention to himself. However, the intensity and grandiloquence of the ring, for which you personally find off-putting, cannot be denied. But if you're put off by these qualities then, at this point, I think we can safely say it's just a matter of taste and that the Ring simply isn't for you.