Jeune&Jolie

In an interview Francois Ozon said that he believed every women secretly fantasizes about being a prostitute. There is a hint of that in the final scenes of the film where George's wife actually admits to it. Overall though, this attitudes translates really well into the film. As I think, it's not necessarily good nor bad.

Prostitution is definitely romanticized here. It's not something the viewer feels dirty about: the film is more about fulfilling one's sexual fantasies. And in a way, this is a good representation of a very popular feminist (I suppose it's feminist because it seems so but I might be very incorrect and stereotyping) anti-slut-shaming thesis: women can enjoy sex, too. They can experience it with different men and they don't deserve to be called sluts for that, when men are definitely not being condemned for being "players" and "polygamous."

But this glamorized version of prostitution is not even remotely realistic. There is that bit with her second client but it's just a moment, a fleeting thing. It teaches  her stuff about how to work. But it's not true; it's not as safe, it's not as nice, and the prices are not real (I guess they aren't, that's just too much but I'm not an expert).

As my friend said, if a young, sensitive, a little adventurous 17-years old girl saw the film, she would want to try this, too. And it's not exactly a path that might lead them to the ending of the film. It's not always a happy ending.

"Tu es ravissante," says George. The film is ravissant, gives some food for thought, so overall, an enjoyment.

The Sound Of Music

Oh, I've seen tons of productions, and I liked them all. But this is the first time I saw the movie, and I really mean the first time because I'm not sure I've ever caught it on TV, even.

And... I can't say that I liked the movie. The story is beautiful, the characters are amazing, the actors are brilliant, but there is just something boring. It took me two days to finish it.

And... somehow on stage those last moments seemed more dramatic and life-threatening. The fascist oppression and the telegram guy's betrayal - it all seemed like so much more, but in the movie it happens in the last 30 minutes.

It's kind of weird because as I recall it was a big part of the story and the process of falling in love took less time.

Christopher Plummer is really handsome. My brain refuses to relate this guy (from 1965 lol) to the old grey-haired man who won an Oscar last (of was it before the last) year.

And the kids, ah, the kids.

It brought so much nostalgia and childhood memories but I didn't enjoy it much. Well.

Cat On A Hot Tin Roof

I like Tennessee Williams. Emotions, feelings, tears, frustration, love, hate - it's all jumbled together in one melting pot of a human being, and it always works.

I wonder how long it took him to create a character, because all his heroes and heroines are startlingly real. From the writing point of view, Cat On A Hot Tin Roof is a perfect example of how the dramatic conflict grows out of the characters and their differences.

The movie is true to the book: additional sequences to visualize the story, the change of the setting (no one goes to movies to see people sitting in one place all the time and talking, after all), everything pretty standard. The change of the setting is also a pretty brilliant idea since it dramatizes the conversation between Brick and Big Daddy.

They go from Brick and Maggie's room to the room downstairs to the parking lot and end up in the basement. I'm not sure but it can be an awesome director's decision: it's like they're getting rid of mendacity, layer by layer, going deeper and deeper and finally facing the truth. It creates the sense of irrational movement, of the two men trying to get out of the cage of lies.

Maggie The Cat simply tries to stay on a hot tin roof, and I feel that's why Brick, Big Daddy along with the writer respect her. She doesn't scheme, she doesn't plan, she glues her paws to the roof, no matter how uncomfortable and deadly it might be, and she holds on for dear life. Because that's who she is and it's why we love her.