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2010: my alphabet ten lexicons

A Serious Man, Joel and Ethan Coen

B ad Lt. : stopover in New Orleans s , Werner Herzog

D Men and gods are , Xavier Beauvois

F antastic Mr. Fox, Wes Anderson

G hostwriter , Roman Polanski

I nception By Christopher Nolan

S ocial Network , David Fincher

S Hutter Island, Martin Scorsese

T oy Story 3, Lee Unkrich

T sar , Pavel louguine

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City Girl, Murnau - Happiness is not in pre

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respectively first and last Murnau's collaboration with Fox, The Dawn City Girl and share many common features. Frustrated love are similar: lost somewhere in the contrast between countryside and city. Both works have yet a different tone from each other, and this difference goes beyond the context of creation - apparently more difficult for City Girl, as explained in the DVD extras. The first film, a masterpiece has long been celebrated, immerses us in the throes of feeling, making the light flicker on the screen. The second, long considered a minor, is less radical: the feelings are most obvious, and life is peaceful now, sometimes disturbing, but never threatened by the shadow of the Expressionist tragedy.

A very dumb speaking Not in City Girl, this dizzy most of the absence and presence. The film loses luster in what it gains in simplicity. The initial data is more basic, in fact, more sociological, since here the countryside and the city meet through two archetypes: the peasant's son and the waitress was fast food. In this already Murnau away from German Romanticism to go to a romantic realism - this probably is telling that commentators City Girl is the first truly American film of German filmmaker.

City Girl gives a modern feel. Perhaps this is due to the ambiguous status of this work, which straddles the silent and talking - there was apparently a talking version that does not reach us. Still, the fighting of light and shadow gave way to scenes more explicit, more theatrical, more precisely speaking.

Murnau's camera fits in perfectly coherent to places and situations. The scenes in fast food, for example, with these static shots that allow customers and waitresses frolic before the metal machine. Then, in the brouhaha (always silently filmed), the game between our two charming characters insensitive to agitation. Or the scenes of harvest, first teaching, then down the long fields of wheat in large shots.

The couple proof against loneliness Countryside and city has beautiful object so if just, are found in two places illusion and disillusion. The rich girl City is in the removal, beauty and oppression of the city to the sweetness and harshness of the campaign. In the streets or fields, our waitress was always the toy of a bleak fate in the hands of cruel men or cowards. Dreams are the same, the city lights on the horizon of cornfields. And nightmares too, which distort the faces, feelings and sift harden hearts.

City Girl, basically, tells the story torque to the test of solitude. In town and country, be two to play with space - and to play his way. Witness the encounter in the fast food: the counter that separates our two characters, machines and the boss who is watching as many events in the game of seduction that came naturally. It is the same when the couple arrived at the campaign and played in the euphoria of the moment, and continue to hide her as if to entwine. Conversely, moments of solitude are those where space is most oppressive. For example when our farmer learns in the midst of the crowd, a newspaper that the price of wheat has to fall: the news is carried in the march of urban indifference. On the farm, it's time for our waitress to be crushed by this in-hospitality. She finds herself in the shadows of empty rooms with the only vis-à-vis an authoritarian father a farmer or lewd.

Yet there is always - and this is even the leg of Murnau - amazed even in this naive realism steepest. The night of power which sees our couple lose themselves and find an opportunity of great plans in the light of lanterns. We find that the presence of vertigo and loss that was the beauty of dawn and spends in City Girl nuanced portrait of a love story surprisingly modern.

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The Aurora - City of Mirages

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The Dawn is the first American film by Murnau, and it also one where the German Expressionist filmmaker is brought to its critical level. It is by playing the light that dangled illusions and feelings shine. Love looks like in the eye of Murnau in existential questions and photographs on the presence and absence of the other or oneself.

Love superimposed The Aurora is haunted from the outset by the battle between the city lights and the austerity campaign. First incarnation of urban sophistication: the character of the brunette who just sow discord in the honest couple. His clothes, his hairstyle, his body - his dance which calls for the vortex picture of the city - is an infiltration of modern disorder in the traditional countryside and peaceful. Everything leads us to an opposition clean and sober Puritan between the true - happiness - and the glitz, the fake - discord.

This opposition soon yet moralizing is bypassed, node feelings shifted: the tortured peasant that we follow, adulterous love is somehow absent. Physically - in her little escapade with her lover - but especially, and at any moment, mentally. The use of the overlay, absolutely essential in this film is one way among many to question the real presence of character in the plan. More room for the present, in all senses of the word, our peasant is caught between what he was - flashback featuring a happy couple - and what that it would be - light of the city and embrace of the vamp overlay.

To love and be loved From this, the genius of Murnau will divert the moral question, to the feelings of our character a marital affair aesthetic and existential. When he sketches the act of killing is the real presence of his wife who needed him as evidence of the eyes and flesh. And this is the beautiful paradox of this Dawn that this gesture, then this lawsuit, leads naturally to the darkness toward the lights and heavy fumes of the city. Instead, therefore, fertile dialogue of love renewed, between being and aspirations, between reality and wonder.

Love in Dawn is literally photographic: it has beautiful reproduce reality, it feeds on dreams, light, changes of plan and background - as our couple in the town photographer, poses in front of a bucolic. Suddenly, drunkenness and eddies of the city are not vectors of chaos, the overlay is no longer an escape, but form the fabric of the present moment, because the feelings deeper and more air. The city lights are no longer sources of ambiguity and ubiquity, they give instead to life a particular place and a specific horizon - a plane and a depth of field.

Aurora in question is safe nun now of truth, fear of the package to commit, the prayer of the wife and soon quit, the sound of bells ring out as an act of contrition. This aurora is the movement of love that renews all things, take a hand in things unseen presence and frees them from the realm of gravity. In this, Murnau like the dawn of the movies a lot.

Pain On Right Side Of Back When Sleeping

Les Petits nightmares of conscience

She is a leftist saucy and exuberant, unbridled denouncing injustices of all kinds - quick to sleep with men the right to convert its question. He is a convinced Jospin, patient advocate and supporter precautionary principle of zero risk in terms of animal epidemics. They mark the territory between them left, Playground Name people , romantic-comedy citizen with Sara Forestier Michel Leclerc and Jacques Gamblin. The tender portrait of the family left, however, was not subject to this film, who wanted both a teaching document, zany comedy, romantic drama and political work. None of this of course in this innocuous romantic story.

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