(not so) Happy Michaelmas!

Not every man has gentians in his house in soft September, at slow, sad Michaelmas. Bavarian gentians, big and dark, only dark darkening the daytime, torch-like, with the smoking blueness of Pluto’s gloom, ribbed and torch-like, with their blaze of darkness spread blue down flattening into points, flattened under the sweep of white day torch-flower

Wild Horses… again.

Lawrence writes only that Connie “had recurrent violent dreams, of horses, of a mare which had been feeding quietly, and suddenly went mad” and later that “there was a group of horses, and a mare that would go mad and lash at the others with her heels and tear them with her teeth!” Russell’s version

24 Frames: Jane Eyre (Cary Fukunaga, 2011)

When Lawrence “returns to tenderness” with Lady Chatterley’s Lover, he also turns to Jane Eyre, apparently determined to show that Jane should have been mated to the wrathful Heathcliff rather than buried in Victorian niceness with the safely crippled Rochester. Lawrence’s rewriting of Charlotte Bronte’s story reveals that what really disturbed him about Jane Eyre

O cara da casa dos fundos…

Wild Things: Criador & Criatura

I want the finality of love. *Vou ignorar que Bates interpretou Proust num filme dos anos 90 e Diaghilev num dos anos 80* Related articles Tudo que é bom vem aos pares: Bates & Reed

24 Frames: Sangue Ardente (Hot Blood, Nicholas Ray, 1956)

If the cinema no longer existed, Nicholas Ray alone gives the impression of being capable of reinventing it, and what is more, of wanting to. While it is easy to imagine John Ford as an admiral, Robert Aldrich on Wall Street, Anthony Mann on the trail of Belliou la Fumee or Raoul Walsh as a

Tudo que é bom vem aos pares: Bates & Reed

Mulheres Apaixonadas (Women in Love, Ken Russell, 1969) Related articles Men In Love Ken Russell: Women in Love

Huxley, Lawrence, Jung, Gross

Aldous Huxley’s evolution as a novelist may be described as the succession of three distinct phases. First, one finds the group of the early novels. They are bright and amusing, but also sharply satirical at times, and they express that growing dissatisfaction with our civilized world which comes to a climax at the end of

Isherwood & Huxley

Interviewer: Did you first meet Aldous Huxley out here? Isherwood: Yes, I met him when I first came out here, in 1939. I had never known him in England. Interviewer: Would you talk a little about your association with Huxley. Isherwood: Huxley was a person who was at once seemingly remote and yet extremely loveable

O Arco-Íris (The Rainbow, 1989)

As mulheres eram diferentes. Também tinham a sonolência da intimidade do sangue, bezerros sugando e galinhas correndo juntas, filhotes de ganso palpitando na mão enquanto a comida era empurrada pelas goelas. As mulheres olhavam além do intercurso acalorado e cego da vida na fazenda, contemplavam o mundo ao redor. Tinham consciência dos lábios e da

Outras Obras Russell-Lawrenceanas

Mulheres Apaixonadas (Women in Love, 1969) Sequência literária imediata aos acontecimentos narrados em O Arco-Íris. Com a diferença de 20 anos separando tal filmagem de sua prequel, Russell escolhe Mulheres Apaixonadas para incursionar em seu segundo longa para cinema e sua primeira adaptação de Lawrence para as telas. É uma ótima adaptação, mas a presença

A Serpente Emplumada

Estou enojado com a humanidade e a vontade humana, inclusive a minha. Compreendo que minha vontade, por mais inteligente que eu seja, não passa de mais uma irritação na face da terra, quando começo a exercê-la. E a vontade dos outros é ainda pior, cada ser humano exercendo constantemente a sua vontade contra as outras