The new Sherlock hilmes movie is the same as the baasil rathbone ones from the thirties/forties[I guess/approx?]

except that Robert downey is better version of the cjaracter

[scamp/ultracharismatic audience proxy{code, i guess, for 'protagonist??'}]

On turner classic movie they did ‘holmes for the holidys marathon with a bunch of homes movies w all the diff actors,etc’ and I watched a number of the rathbone ones and though rathbone is a passable holm, he brings nothing to it and his performance is ‘blown the fuck away for accuracy’ by main man j. brett

~i typed this one in word foist so with the execption of the omst integralest ones[which I fixed back myway myself ‘for dramatic effect’/it couldnt figure out what myword coulda been] it tried to ‘fix’’’ my spellings/put a shit load of capitals all over the damn place~

Both Hollywood current-tiome adaptiaions of a classic british character, but hwere basil rathbone ones attended to hollyowod standard in whatever ways suited Hollywood convention at the time[established actorstar{common to downey-ritchie 2k9 }, possibly notions of standard modernist certainty of intellectual superiority in realationship bw holmes n Watson{bc doc’s p dumb}, FIGHTING WORLD WARTWO]/hammer film peter cushing holmes feat chrs lee as dracula bascerville was part of mid 20thcent remaking of culture[hammer is unfairly ‘unculted’ i personally believe and suggest]

[hit actress amy {mc}adams 'drinks a coffee' with 'her spirit-helper']

Whereas, in the jude macadams version{INCLUDE PHOTOT OF RACHEL MACSADM FOR APPEAL} the relationship bw holmes and Watson is inter and co dependednt in an interesting way, they matter of factly wallow in their shared/paired functionality, this ins because holmes ifs the audiences acces to theis movie, as opposed to the texts/definitive jemeemy brett telveivson verswion of them’s Watson-access. Acces is even subtly mocked in the brief reference to watsons 'old notebooks' which of course comprise the in-universe explanation for the stroies themeselves [good job by the waty guyritchie for makin exactly the movie you wanted to, that speaks to signifiactnt maturity as a artist and its cool that you made your Sherlock holmes wintertime blockbuster series correctly; i liked it a lt because everthing looked and acted and sounded right for a 2k9/10 reboot/brand of holmes in thevein of batman/jonny bond/christian’john the machinist’ connor/clash of the titans/aliens 2:this time the aliens are cat people whose god blesses big macs w magicseeds 3D/ironman triopic thinduer].

Here is how some of those referecnes to other movies pertain:

Tropic thunder i watched again the night before iwatched holmes and I saw clearly: this was ‘generic big Hollywood spectacle action setpeice based movie chassis’ with ‘hollywoodmetacomedy/pedigreed[/’authentic{to roles assigned to them}’] actors’ bolted elegantly atop , to effective and correct effect , ‘it worked’ ,

Avatatr made it ‘safe to have a big ol’ spectacle and tahts enough, if you just get that right enough and do exactly what you set out to’ again [after 9/22 I JUST COULNDT STIOP ________________ FOR LIKE THIIIS LONG/]

Jamwes bond is another iconic w various versions w particular characters, but where bonds icon is infilm and thus each reboot/brand redefines for a generation , holmes is based in books, therefore there is a definitive version, therefore

this 2k___rebrand[just as many of its analogues] chooses to iterate on a theme presesnt in cultural perceptions of the character[house –and wilsoon relevision interaction/interesting and heartening softening of ‘traditional masculinity’/unconcern w theoretical/conceivable perceptions[/invitation thereof{becasue the internet is for whatever you want it to be fore, those who interact with fictoinal figures personally}]of something less than insecurelyovercertain heterosexuality[via close positive interdependent connection between two men]

[seen hree:normal people interacting normally{the least ironic thing to say(via sensitivity/earnesty/notions of conveying internality in presentation)}]

oh its funny that that was the point[s] I ended up addressing there becasue my next one is

tony downy junior ‘s holmes is literally batman [via always planning, espec. splitsecond midcombat , / THE WORLD’S GREATEST DETECTIVE GENIUSWHO HAS DIFFICULTY CONNECTIN W HUMANITY AND WHO IS ONLY FUCNTIONAL/COMPLETE W THE HELP OF LOVED ONES{obv tragedy of batman is in constant denial of love from him, holmes has no such problem, his loved ones are consistently visually protected in thisfilm(more on this latre)}/gleefully irreverent ‘gay-culturalperceptions/subtexts{dependin on who you ask}’]

protection of companions and its relation to respect for source material[via ironman{feat ghostface rourke}(because that was aonther rdj one what possessed said respect)]: when the thing blows up a bunch and it looks like Watson is dead, before the audience and therefore holmes can move on to the next part of the story the friendlycop literally tells us all that Watson is in fact alive

during fightscene on londonbridge rachelmacccdms gets pushed off as inception point to fighting: there is a token fight schene but it is halfhearted and brief until downety takes a gzander down and sees her safe on a scaffold, at which point the thing really kicks in

an issue regarding drugs and forwardthinking i liked how there were nonchalant subtle background cocaine references['for eye surgery,' sniffin somethin upon wkin up in prison], this too speaks to our current nonchalance and adultness withregardto formerly iffy/taboo things[GENERATION YINTERNET BEEP BOOP]

anyway heres the payoff to my title: in view of that this holmes movie is so much of this time period's hollywood/assorted media in particular while still being constructed in such a way as to feel like a holems story should[these are significantly-better-than-acceptable takes on these characters that happen to exist in a filmuniverse in which big action setpeices routinely occur; [elegant capsule image of isusue:]Watson is still there to carry and use a gun for holmes, but he also is responsible for constantly reminding holmes to carry his own gun, which he seems not to interact with mentally on the same level as his other tools, firing it wildly and all in a frenzy the one time he has it with him], it cna be said that[my title]

`all picture from gis of basic name/concept/idea`

"its not waht i do,insted its what i am inside that count"-heath 'jack'' burton, Batman movie, I989[31]

'dis is me';[note the basic state:the body is covered with rigid albeit selfidealizin armeor,cape is attached firmly,almost bodilym, but very much still alien, connectin only to identityheart chesticon,mimikcing wings]


'notions of ''meeting ones' maker''[pensivebatmn,inrepose,purse ones lips,subtlest smirk]'



'AAGHR, NOTIONS OF THE FRAGILITY OG IDENTITY/''SPIRITULA DEADNESS''[tell me spirti, are thees thisng that willbe, or merely must be]'


'i am capable of anthing iput my time to'


'as batman, letmesay "commotioner gorton, i wish to work for a britgher tomorroe ''for the childeren of our great nation'', thank you, iam batman, again, abtaman" thank you for attendin my play, ia m batman, habe a happy holliday and give my love to rose'





~i got allmy pitcures from a gogleimgsrch of "batman," soo~
[copmanionship,/the quiet suffering of tha ages]

o would yu look at that

haha i posted that whole screed without including one of the interesting filmmaking bits: it was the director's first film and all he had done prior was commercials, which goes no small distance toward explaining why the visual sense/'imagecraft' of the return was so highlevel; who better to convey crushing perception-dominance than an adsmith?

'the return' as adaptation of 'the road'

PREFATORY: i have not seen viggo 'nick cave and the john hillcoats' morgenstern's film adaptaition of 'the road' popular cormack mac-carthy novel set in that old standby of twentieth-century fantasy, the deep postapocalypse[via COLDSWAR TENNISONS/'the fatigue n spiritual deadness of modernity/post-'], but i have[read the book, and] seen reviews and clips that lead me to the conclusiuon that probably it[thefilm] gets the messages correct, inasmuch as it depicts 'in/sub/de-humanity+the breakdown of social order/decency+its miraculous continuity'. i am uncertain whether itgets the 'father-son starkness' right, but it seems to have missed the most vital component of the book: its smothering, claustrophobic tone[because it overplays its 'still-extant/pre-armageddon' hand].

the absence of anything outside the immediate perception of these two ssurvivors and the limited access we get to their limited[by their circumstance/its horror{'the mind reels, recoils, rejects, recuses-itself-from-this-case'}] internalities is the directr repercussion of the asbolute and irrevocable destruction of the feminine[depicted as it is through theMan's dim recollections ofWoman]social order of early 21st century america [as seen through mccarthys distinctly 20th century almost 'western genrefilm' jawclenched steeliness{"AAARGh"-cormacarthy's tone, 2k6}/'POST 9/11 BUSHERA']

[this photo is from here:http://www.beyondhollywood.com/the-return-2003-movie-review/
i didnt read it it just came up w/pictures i wanted onna googel]

THESIS: 2003 russian film 'the return' is a dead-on tonal/stylistic [pre-]adaptation of 2006 american novel 'the road', albeit re-set to contemporary russia from postapocalyptic america, with all that switch implies, and with a doubled Boy figure, with all that split implies.

ARGUMENT: WHAT IS DIFFERENT AND WHY: the settting, what--between the two orders [feminine,motherly homelife societal stability vs public/external survivalist masculinity]--is in flux/theoretical

The first sequences in the film--the younger, pre-'age of trousering[elizabethan gendering of children's clothing symbolic of passage from mother's influence to father;s]'/adolescent 'mama's boy' fails to prove his public masculinity to his [posttrousering/currentlyadolescent while still lacking a paternal rolemodel] older brother and his associates, his mother's rescue/talking-himdown-from-emotional-extremity--depict the stability, safety, pleasure[because the actor playing the mother looks like a IngmarBergman beautifulwoman archetype {all the ambiguous scenes with the father in the home are extremely Bergmanesque in tone/style}] of the home--by extension societal order, 'basic humanity', which is then set on edge by the father's return.

the father's ambiguous,never-revealed pre-film backstory[suggested only through the childishlylimited internality/conception of the skeptical younger son/the subtleties of performance/the ambiguous and forgotten macguffin of the steel box the father digs up, just as the apocalypse that destroyed social, interpersonal order in the road is never elaborated upon; it is the lack that is at issue, not the 'means by which'] as conceivably having been in the mafia and/or prison for his 12year absence produces a brutal, survivalist figure based wholly in external, kicked-dog public masculinity

however, the doubling of the Boy into an elder desperately seeking approval and reassurance of his masculinity's validity/fatherly affection and a younger distrustful of 'masculinity' forces a breakdown of this father-son dynamic which is the father's destruction: he dies trying to prevent his son from self-harm, proving his innate connection while recognizing his societal unacceptability

on the makingof documentary about the return iwatched, the cinematographer mentioned that to his mind the boys' mother was the ideal-woman, a "capital-W-woman," see that's the same way the Woman is described in the road, because both are schematic ruminations on parenting and the breakdown of half of a child's reality

whereas in the road it is the motherly homelife whcih is impossible because society has collapsed and the father's doting concern with the 'literal future of humanity' is his unmaking, fondness kills him, there is a miraculous reestablishment of the possibility of interpersonal connection/basic humanity by the survivors who take in the Boy,

in the return the certainly stable and reassuring society/common humanity is safe, and the abusive, disconnected, broken-but-attempting-to-relate father is unmade by legitimate affection/caring for his child, reality itself is inexplicably and supernaturally modified--after the father's body is lost in the lake he disappears from the photo the boys have, the final shot is followed immediately by a series of black and white photographs depicting the boys on a happy,normal fishing trip with their mother and as infants with their loving father as a counterpoint to the apocalyptic grimness and dehumanized figure we just saw.

WHAT IS GOING ON VISUALLY THAT MADE ME MAKE THIS CONNECTION:
once the trio get out of the city, especially once they start camping/fishing[ie leave society entirely, placing them in the purely survivalist, father-dominant, unbound wilderness comparable to an apocalyptic dreamscape] a heavy fog descends on the film, locking the viewer visually into perceptions of only the characters' limited surroundings and slanted perceptions;there are only these people all alone in front of a grey sky, grey lake, grey shore, pale green and brown forest, it is smothering, inescapable, all there is anymore.

there's a bunch of remarkably smooth handheld sequences which emphasize this effect, making the audience just another participant in the scene physically and enhancing this notion of crushing closeness and inescapability

the final shot of the film is supergreat: the boys back their father's car away from the lake and out of sight, the camera pulls back and back and back," 'the mind reels, recoils, rejects, recuses-itself-from-this-case' "(myself, talkin about the road a lil while ago, 2k9)

also the trips out/back from the island both evoke images of death/the river styx:the way out is the two smaller figures rowing a larger, grim, hooded one, the way back literally a funeral barge with one standing, single-oared boatman

[same source]
its total charon[boatman onna styx] shit, just like all the' death death dying death dead nothing' in that fucking book i wont shut up about

yo dig this dave clark song it rules

try too hard is its name

THESE TWO SONGS ARE RELATED

female-vocalled postpunk band the au pairs have a song called 'dear john'--which i cannot present but wish i could, as it is not easily/apparently available for free on the internet--which at one point incorporates a repeated chant of "this is a letter [beat] to make you feel better."

the graham-nash incorporating pop band the hollies have a song called 'dear eloise' which at the 'turn' in the song[the transition 35ish seconds infrom the prefatory bit of plot-framing] opens with the lines "writing a letter [beat] to make you feel better/sorry to hear that he left you that way"

the au pairs' response to the hollies' song is apt because where the hollies song is a leisurely, anthemic 'let me [the vocal protagonist] be the Nice Guy[with all the loaded meaning that capitalization implies] whose arms you fall into, subject," the au pairs' is--as denoted by title--a rebuke of/rumination on an unfaithful lover, in the true icy, twitchy, alien[while still maintaining an organic, visceral tone by means of the funkybass/drivingrhythm] postpunk style. also the vocalist sounds a lil like exene cervenka of hit punk band X in this track/in general.

sam worthington: LITERALLY 2K10[ps so am i{via full disclosure}]]

THESIS: samworthington is the first actionstar of the Obama Era
[igot the above photograph thru a googimagserch of sworth's name n and it is from this website : http://justjared.buzznet.com/2009/05/15/sam-worthington-natalie-mark/. i like it bc its funny is why]

ARGUMENT: i have seen this actor in two largebudget actionfilms veryy recently:terminator savlation and avatar 3d starring jim cameron as 'batty the robinwilliams-voiced bat[see cause the plot is v similar to fern-gully animatedflm is the joke]'.

his characters were comparable, his notable characterisics identical: emotive adn expressive, conveying the appropriate things[befuddled, nobly intentioned body-horror in mcg's opus, selfless emptyvesselhood in camperons 'flick'{ps i liked both of them; they both did precisely what they set out to}] while remaining slightly blank and nigh-on christopher lambert implacable.

the former characteristic is down to acting ability: he conveys the internality of the role effortlessly; he just feels right. the latter--also why he was the former[appropriate] for these roles--is because, like lambert, he cannot fucking get his accent under control.

the issue was much more pronounced in t:s because for all his eye for action, 'MCG' has no idea what to do with actors[inna rooftop scene w/worthington and ensign 'yelchin' chekov both look exactly like their characters ought and are saying the dialogue, but its clear that no one has told either actor what they are supposed to be doing; their performances' inscrutable directionlessness in thsi scene are not their faults, but his]. cameron is, contrapuntally, 'kign of the world[his particular style of movies is 'the world' in this instance] and takes advantage of his[s.w.] limitation by using mostly his voice, which coupled w/his big gay catbody and the film's theme of his character's childlike ungrounding and subsequent acquisition of Meaning, as well as the implacable[african?indian?mayan?lean{oh well that certainly}?]accents/images of the navi convey with jc's traditional efficiency/efficacy the Point of what he's Doing.

anyway, to my point. he was chosen for thsese roles because he was right for them, he was right for them because he's a decent enough actor to convey what the roles need conveyed and is inscrutible, largely due to his accent. this means that my thesis is true, once i elaborate on what the Obama Era is

the Obama Era is this our literal current era, in which this my generation y is coming into its early adulthood. we grew as the internet did, its current maturity [RICK SANCHEZ AND JIMMY FALLON TWITTER GOOGLE GRIZZLY-BEAR]coinciding with our own. we, in our constant coddling and reassurance of the conceivability of the possibility of 'connecting w/another human' that the internet provides, have broadly, largely, commonly and quietly self-actualized[that is, realized our universal internal validity all individually].

we are about venting our internality[subjectivities is a way to get at that word if yr some kinda _____ studies academic type, if yr not relate it to the concept of perspectivism, a character in a play{or in this usage any/every human} having a distinct, internally logical point of view].

sam worthington's blankness [via his first 2 'hugeass roles'/vocal irregularities] coupled with his basic capability to convey emotional internality makes him the first new action star to acknowledge the effect of the internet on how media is going to work, therefore he is the first actionstar of the Obama Era.

no ceilings !


ANNOTATED SOURCES:
facebook.com
[because this provse what im saiyan about mygeneration{baybay}]

http://abcnews.go.com/video/playerIndex?id=9210031
[ahshaaha holy shit this is the most hilarious and painful thing in the danm world mark richardson sounds like a giant fag aaaaaa{oh and also this relfects the indisputible truism that the 'internet generation' is flexing its 'ciltural-dominance-muscles'(via anco)}]

http://www.hipsterrunoff.com/
[the origin of my species/inspiratino/i stole some stylistic innovations fromit[via 'via'/'scarequotes'{more accurately read as 'airquotes' like doin them physically w/yr hands}/slashes]