30.6.11
29.6.11
Serenô
Oração da Serenidade
Concedei-me, SenhorA serenidade necessária para aceitar as coisas que não posso modificar;
Coragem para modificar aquelas que posso;
e Sabedoria para conhecer a diferença entre elas.
Vivendo um dia de cada vez; Desfrutando um momento de cada vez; Aceitando que as dificuldades constituem o caminho à paz;
Aceitando, como Ele aceitou, este mundo tal como é, e não como Ele queria que fosse; Confiando que
Ele acertará tudo contanto que eu me entregue à Sua vontade; Para que eu seja razoavelmente feliz nesta vida e supremamente feliz com Ele eternamente na próxima.
Amém.
28.6.11
Morricone
Ennio Morricone - The Trio (The Good, the Bad, & the Ugly: Original Motion Picture Soundtrack)
“For me the music is fundamental, especially in a Western where the dialogue is purely aphoristic. The films could just as well be silent; one would understand all the same. The music serves to emphasize states of mind, facts and situations more than the dialogue itself does. In short, for me the music functions as dialogue.”
... and play
Gene Kelly in An American in Paris (1951, dir. Vincente Minnelli) Art director Preston Ames designed the set in the style of Henri de Toulouse-Lautrec’s painting Chocolat Dancing In Bar Darchille.
Warren Barker - Caper at the Coffee House (via 77 Sunset Strip: OST)
Elizabeth Taylor and Paul Newman in Cat on a Hot Tin Roof (1958, dir. Richard Brooks)
Miles Davis - ‘Round Midnight
![Vivien Leigh in A Streetcar Named Desire (1951, dir. Elia Kazan)
“The audience at the beginning should see her negative effect on Stella and want Stanley to tell her off. He does, he exposes her, and then we gradually see how genuinely in pain, how actually desperate she is, how warm, tender, and loving she can be (the Mitch story) - then we begin to go with her. The audience realizes that they are witnessing the death of something extraordinary - colorful, varied, lost, witty, imaginative, of her own integrity - and thus they feel the tragedy.
Blanche, out of place, unappreciated, a stranger in the modern, rough, coarse South; yet despite sickness and unbalance, she has more warmth than any of them. It is important symbolically that Blanche is an English teacher. She is the last repository of culture, abandoned, not prized, deformed, destroyed, gone begging for protection.
At the end, the grandeur and nobility belong to Blanche, and the “victors”, Stella and Stanley, are left with each other, a relationship of vulgar crudity and, for Stella, of growing emptiness and terror. (Also, Tennessee [Williams] wants desperately to be with other people, yet be superior to them.)”
-Elia Kazan, quoted in Kazan on Directing](http://24.media.tumblr.com/tumblr_li9bbeHZp31qzdvhio1_r5_500.jpg)
Vivien Leigh in A Streetcar Named Desire (1951, dir. Elia Kazan)
Bernard Herrmann - The Nightmare (via Vertigo: Original Motion Picture Soundtrack)
Some Like It Hot
![Marilyn Monroe & Tony Curtis (who I choose to believe is throwing horns) on the set of Some Like It Hot (1959, dir. Billy Wilder)
“[The tailor on Some Like It Hot] measured me, 16, 34, 43, 18, 19, 18,” Tony Curtis later recalled, “and then he goes to Marilyn - this is all in the same day and this is the truth…He comes in to Marilyn’s room and Marilyn had on a pair of panties and a white blouse and that’s all. He put the tape around her legs, looked up at Marilyn and said, ‘You know, Tony Curtis has got a better-looking ass than you.’ She was standing there, she unbuttoned her blouse, and said, ‘He doesn’t have tits like these!’”
For once, I think we need these salty stories, because Monroe needs all the salt she can get. The Marilyn industry is so deeply soaked in her crack-ups -shaking the poor woman until we can hear the slosh of booze and the rattle of pills -that it’s a relief to get back to the floozie with the forked tongue.
-Anthony Lane, excerpted from “On Billy Wilder”, The New Yorker](http://25.media.tumblr.com/tumblr_ln17asyjAX1qzdvhio1_r1_500.jpg)
Marilyn Monroe & Tony Curtis on the set of Some Like It Hot (1959, dir. Billy Wilder)
26.6.11
21.6.11
4.6.11
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