*************************************************************************
March 14, 1942
LETTER: ROBERT WISE TO ORSON WELLES
(Editor Magnificent Ambersons)
I am sending this letter in the event the picture gets to you before I arrive. The film was shipped Wednesday night, the 11th, and I was prepared to leave myself, but due to the present situation passage could not be arranged. I understand that it may be a matter of 3 to 10 days before I can leave.
In any event, I am quite anxious to be off, and the studio is working very hard to arrange it. Since we have sent you not only the complete picture, but some alternates as well, and also since the re-recording was done in great haste and we have many things to fix in that, I will go through the show, reel by reel and tell you our plans and ideas:
REEL I
Make slower fade in on the opening shot of the house.
The vignettes were rushed thru and we still need a lot of work on them. They should start a little heavier and be lighter near the end. Also they have to be juggled individually so that we do not lose them in the night scenes. We are also making a test on a white vignette which will be sent down.
Plan to blow up a shot of Major with hat and move back a little as he turns in to camera.
Your narration seems a bit low at start of reel. That will be raised in new R.R. (re-recording).
We also will clean up the steam-car a little in our redub.
REEL II
You will find the C.U. of the Major at punch bowl in the alternates. The shot did not turn out well, and when cut into the picture, spoiled the whole flow of the party, so I did not use it. We consider this reel O.K. as it stands. Do you like “The Beautiful Ohio” waltz?
REEL III
This reel we consider O.K. except for changing George’s speech from “Most girls of sixteen are pretty bum dancers” to “Most girls of sixteen are pretty bad dancers.” This at the request of our Foreign Dept.
Jack (Moss) feels that the scene in the bedroom where George gets his “come-uppance” is definitely a curtain and should come as late as possible in the picture. He also feels that this scene will have greater feeling if it comes after a greater accumulation of trouble for George. He also likes the idea of the girl appearing on the screen immediately after George gets his “come-uppance.”
Jack would also like to lose the accident scene for a reason that I know has been brought up before. That is, it is a definite jar for George to say “riff-raff after he has supposedly received his “come-uppance.” Jack is not particularly fond of the scene as a whole anyway, and would like to cover this by lapping to the first part of one of your other angles of the accident where we see only stretcher being put into ambulance and lap on through to inserts. This to be covered by sounds and music.
The picture as it now stands is 2 hours and 11 minutes long, and I feel very definitely that we must get some footage out of it. I would like to cut three scenes – the factory and the two porch scenes. This would take out almost 11 minutes and bring the show down to just over two hours.
This cut would make perfect continuity and would not lose any story for us. The scenes we are losing are both darn good scenes, but it is going to be a matter of sacrifice wherever we lose footage and I feel that the footage in this part of the picture makes all of our later and more important scenes seem much longer. You will find in the alternates, film that we have made up to make this cut in the picture.
Jack agrees with these three cuts and in addition has other cuts and retakes he feels would help the show. One is to drop the bathroom scene between George and Jack and fade out on Mrs. Johnson’s house. He feels that all the points in the bathroom scene are brought out in other scenes and that it would be better continuity to go from Mrs. Johnson’s to George unwrapping the picture and turning Eugene away at the door.
Jack was quite bothered by Isabel’s walk during the first part of Eugene’s letter to her. He didn’t mind it after she had sat down and the last walk up to the camera was all right, but the first part he felt was stagey and awkward. He suggested playing the first part of the letter over some shots of the inside of the house and then lapping to Isabel seated. You will find a rushed version of this among your alternates but we are making a new one with all the pauses shortened in the letter and with Eugene’s voice reverberated to try and give an effect to it. I certainly agree that Isabel’s first walk is bad, but I am not sure that this is the remedy. Have you any other ideas?
As I have said earlier in the letter, we have made and are sending to you the scene you requested of Isabel unconscious on the floor. However, both Jack and I feel that the cuts you propose to make using this scene are entirely too drastic and are sure that once you see the picture you will wholeheartedly agree with us. It is true that we need footage out of the show but not to the extent that we must definitely hurt the picture to make it shorter, for that is what we feel you will be doing in making such cuts.
If you are proposing the cuts for any other reason than footage, we cannot help but feel that you have been ill-advised as to the quality of the show and cannot too strongly urge you to reconsider these cuts.
All of us up here feel very definitely that you have a very fine picture and that you needn’t sacrifice it for any reason.
This pretty well covers all our points at present on the show. I know that this is an extremely unsatisfactory way to work and that you must have a thousand and one questions you would like to have answered. I can assure you I am waiting with great impatience to be off and can only hope that I arrive not too long after the film and this letter. In the meantime we are going right ahead with all the work that does not require an answer from you.
I have seen “Journey Into Fear” a couple of times and am very pleased with it. The finish wasn’t completed when I saw it, but now is and I am going to run the complete show with Mark (Robson) tonight.
I have seen the color tests on your South American film and it looks fine. Talked to the Technicolor people and they are pleased with their end of it and say the negative is all very good.
Hope to practically beat this to you.
Warmest regards,
Bob
P.S. We need trailer material desperately.
March 15, 1942
In Rio Welles receives a received 131 minute (separate picture and sound track) version of with alternate takes and scenes. What he considers a rough cut but will without his consent become preview print of THE MAGNIFICENT AMBERSONS.
March 16, 1942
TELEGRAM: ROBERT WISE TO ORSON WELLES (excerpt)
DEAR ORSON: REPORTING DEVELOPMENTS AMBERSONS. MR. SCHAEFER UNEXPECTEDLY REQUESTED RUNNING AMBERSONS TODAY FOR HIMSELF AND KOERNER AND 4 OTHER MEN UNKNOWN TO ME, PROBABLY EASTERN EXECUTIVES. FOLLOWING SHOWING SCHAEFER INQUIRED REGARDING SHORTENING LENGTH. HE HAS ORDERED ME TO PREPARE PICTURE FOR SNEAK PREVIEW TUESDAY NITE WITH FOLLOWING CUTS: BOTH PORCH SCENES AND FACTORY. HAVE ADVISED JACK MOSS.
*******
Omen:
http://www.youtube.com/watch?v=AzEqXPcDgT8
Riki Tiki
-
Black Irish
- Wellesnet Veteran
- Posts: 317
- Joined: Thu Aug 02, 2012 10:07 pm
Re: Work area
Work area
You seem to have a short memory, Larry. Just a few months ago, if you’ll recall, you were ready to let the old Wellesnet site be eliminated because Precision Effect was charging you an extra $5 to get the site back up. You thought they were giving you the shaft, but as it turns out, it was a simple case of having run out of space, a problem that was easily rectified by Ray and I, and could have been avoided altogether had you bothered to check the space usage indicator for the site even once. When Ray and I talked to the representative from Precision Effect, he said that you had been “incredibly rude” to him on the phone, and he had no further desire to deal with you.
Mind you, this was not the first, but the SECOND time that Ray and I stepped forward to save the old site from going down for good. The first was in August 2011, when you and Jeff Wilson suddenly announced that the website was to be shutdown for unknown reasons, despite the fact that three “successful” fundraisers had been conducted in the previous four years. When Jeff was questioned about the operating expenses for the site, he amazed us by indicating how low they really were. It is very tempting to conclude from all this that you want control of the old site only so you can shut it down for good, in order to have Wellesnet Facebook as the only operating Welles website.
The old Wellesnet site is designed in such a way that, if it goes down, all of your blog entries over the years would be archived at Archive.org, but the message board would not. Therefore, nearly 20,000 posts over the course of 12 years would go down the drain without a trace. Perhaps you, like many others feel that most of what was posted to the old message board was shit. If so, fine. That’s your opinion and you’re entitled to it. A few of us however, feel otherwise, and that’s why we went to the trouble of not only saving it, but organizing it so that it was much easier to read and to navigate. It’s true that very few people post there anymore, but according to Ray, more people are reading it now then ever before. That’s a pretty clear refutation of the idea that there’s nothing on it but shit.
*
Frank Sinatra and Harry Cohn:
http://www.americanmafia.com/Feature_Articles_214.html
****************************************************************
*
Tony, I’ve heard that story too, and it’s possible, especially since, according to Wiki, Spielberg and Irving had already broken up once because of her alleged affair with Willie Nelson (can you imagine being cuckolded by Willie Nelson?!). However, I think Ray’s first assertion sounds more plausible, that Spielberg found Welles’s hiring of Irving to be an overly transparent ruse to get money out of him. Or, it could be that both assertions are true. And maybe also that Spielberg simply didn’t like Welles’s script. And also that he was still pissed off about Welles stating publicly that his sled was a fake. The only one who can tell us for sure is Spielberg, and he’s never talked about it, as far as I know.
*
Brian: Hey Mikey, how come we never see any pictures of your girlfriend? We don’t know what she looks like.
Mikey: What’s it to you? Do I ask you questions about your fucking girlfriend, asshole?
Brian: Jesus, take it easy, would you?
Mikey: Then don’t ask me questions about mine. You came in her to talk to him, didn’t you? Well, talk to him.
Greg: Your old buddy, Brian.
Mikey: Aarrgh…I can’t stand that obnoxious little fucker. He is a truly grotesque individual. I don’t know…maybe I just need a change of scenery.
*
Very few people ever become a champion, and sometimes it’s more a matter of luck then skill.
*
Maybe you can get your 3-year-old to write something for Yo Yo Ma. So Manfredini, or whatever his name is, claims he was influenced by Lutoslawski, and so by your logic that puts him on a par with Lutoslawski? That’s like saying “Miss Saigon” is on a par with “Madame Butterfly”. But why don’t we just do a direct comparism, shall we? Here’s a link to a fine performance in Finland of the Lutoslawski Cello Concerto, followed by a link to Mr Manfredini’s Mickey-Mousing hackwork for the Slasher Porn series:
Lutoslawski:
http://www.youtube.com/watch?v=ZVqx2uUls54
Manfredini:
http://www.youtube.com/watch?v=yNMbafr2yEM
**************************************************************************************
**
BECAUSE OF THE CATS (excerpts)
Feodora: “This people here is very bourgeois, because they are very proud of their fine new town. They do not like anything to disturb the pattern…here they do their dirty tricks in the dark…so their virtue does not get spotted…they say dirty whore; I say filthy bourgeois…Their children, they grow up; they don’t fit in either world…Who will they make friends with? Sometimes with bad types.”
This gang (The Ravens) had something oddly adult about it, and uncharacteristically vicious. Now, imagine an adult who had some motive for making war on society…to use for his warfare, a fifth column; the members of that very society in embryo. A new aristocracy.
In order to remain free from suspicion and discovery, this man would need to possess an unusual power over the gangs. Boy gangsters were efficient, and fanatically brave, active skilful, quick, and calm.
He had a contempt for civilization. Where others used art to fill their sense of unfulfillment, he used crime.
Many English people blamed the bomb for everything, but to go on about the bomb was hypocritical tripe. We cured the plague and invented the bomb to take it’s place. Camus’ plague was Fascism…and it was never gotten rid of. Zola’s plague was the mines that he thought a new world would grow out of.
Society was a fermenting mass, a huge pot of pig-swill, boiling on fires of hatred and envy, of bad education and war, poverty and starvation, homelessness and joblessness. The scum rose to the top, where the police were supposed to skim them off with a ridiculously tiny spoon.
The state was foolish, but to do one’s duty was important. People despised the Germans for obeying the state. That was surely illogical. They might be blamed for creating that state, but not for obeying it.
1940 was a plague year. His generation was unlucky to have to go to war instead of finishing their education in peace. If they hadn’t gone to war they would have tasted the bitterness of unemployment and gang riots. Instead they were given guns and told to go kill Germans; a fine hunter’s license. Young men of eighteen were natural warriors, hunters, raptors. To channel those instincts into commercial throat cutting and financial rape was an unworthy ambition. Weren’t the gangs making a gesture against a society that sent them to classes to learn how to make money? But to talk like that was to be branded as atheist, or anarchist.
Men who keep bars, restaurants, cabarets, are predators too. In those businesses, it was instinctive to despise society. They see the captains of industry and the most respected members of society drunk and maudlin; like bored and whining children. If a barkeeper was bored with making money he could become a dangerous man.
The young gang members who used the upper rooms of the bar had a disdain for the herd. They made their own rules; their own self-government, like a society in miniature. Sons and daughters of the most influential figures in town; they were the future rulers of the town. They took the raven as a symbol of the top layer of aristocracy.
The police were there to protect the people, but the courts were there to protect the rich. The police that got promoted were the ones who caused the courts no trouble.
*
*
*
*
You seem to have a short memory, Larry. Just a few months ago, if you’ll recall, you were ready to let the old Wellesnet site be eliminated because Precision Effect was charging you an extra $5 to get the site back up. You thought they were giving you the shaft, but as it turns out, it was a simple case of having run out of space, a problem that was easily rectified by Ray and I, and could have been avoided altogether had you bothered to check the space usage indicator for the site even once. When Ray and I talked to the representative from Precision Effect, he said that you had been “incredibly rude” to him on the phone, and he had no further desire to deal with you.
Mind you, this was not the first, but the SECOND time that Ray and I stepped forward to save the old site from going down for good. The first was in August 2011, when you and Jeff Wilson suddenly announced that the website was to be shutdown for unknown reasons, despite the fact that three “successful” fundraisers had been conducted in the previous four years. When Jeff was questioned about the operating expenses for the site, he amazed us by indicating how low they really were. It is very tempting to conclude from all this that you want control of the old site only so you can shut it down for good, in order to have Wellesnet Facebook as the only operating Welles website.
The old Wellesnet site is designed in such a way that, if it goes down, all of your blog entries over the years would be archived at Archive.org, but the message board would not. Therefore, nearly 20,000 posts over the course of 12 years would go down the drain without a trace. Perhaps you, like many others feel that most of what was posted to the old message board was shit. If so, fine. That’s your opinion and you’re entitled to it. A few of us however, feel otherwise, and that’s why we went to the trouble of not only saving it, but organizing it so that it was much easier to read and to navigate. It’s true that very few people post there anymore, but according to Ray, more people are reading it now then ever before. That’s a pretty clear refutation of the idea that there’s nothing on it but shit.
*
Frank Sinatra and Harry Cohn:
http://www.americanmafia.com/Feature_Articles_214.html
****************************************************************
*
Tony, I’ve heard that story too, and it’s possible, especially since, according to Wiki, Spielberg and Irving had already broken up once because of her alleged affair with Willie Nelson (can you imagine being cuckolded by Willie Nelson?!). However, I think Ray’s first assertion sounds more plausible, that Spielberg found Welles’s hiring of Irving to be an overly transparent ruse to get money out of him. Or, it could be that both assertions are true. And maybe also that Spielberg simply didn’t like Welles’s script. And also that he was still pissed off about Welles stating publicly that his sled was a fake. The only one who can tell us for sure is Spielberg, and he’s never talked about it, as far as I know.
*
Brian: Hey Mikey, how come we never see any pictures of your girlfriend? We don’t know what she looks like.
Mikey: What’s it to you? Do I ask you questions about your fucking girlfriend, asshole?
Brian: Jesus, take it easy, would you?
Mikey: Then don’t ask me questions about mine. You came in her to talk to him, didn’t you? Well, talk to him.
Greg: Your old buddy, Brian.
Mikey: Aarrgh…I can’t stand that obnoxious little fucker. He is a truly grotesque individual. I don’t know…maybe I just need a change of scenery.
*
Very few people ever become a champion, and sometimes it’s more a matter of luck then skill.
*
Maybe you can get your 3-year-old to write something for Yo Yo Ma. So Manfredini, or whatever his name is, claims he was influenced by Lutoslawski, and so by your logic that puts him on a par with Lutoslawski? That’s like saying “Miss Saigon” is on a par with “Madame Butterfly”. But why don’t we just do a direct comparism, shall we? Here’s a link to a fine performance in Finland of the Lutoslawski Cello Concerto, followed by a link to Mr Manfredini’s Mickey-Mousing hackwork for the Slasher Porn series:
Lutoslawski:
http://www.youtube.com/watch?v=ZVqx2uUls54
Manfredini:
http://www.youtube.com/watch?v=yNMbafr2yEM
**************************************************************************************
**
BECAUSE OF THE CATS (excerpts)
Feodora: “This people here is very bourgeois, because they are very proud of their fine new town. They do not like anything to disturb the pattern…here they do their dirty tricks in the dark…so their virtue does not get spotted…they say dirty whore; I say filthy bourgeois…Their children, they grow up; they don’t fit in either world…Who will they make friends with? Sometimes with bad types.”
This gang (The Ravens) had something oddly adult about it, and uncharacteristically vicious. Now, imagine an adult who had some motive for making war on society…to use for his warfare, a fifth column; the members of that very society in embryo. A new aristocracy.
In order to remain free from suspicion and discovery, this man would need to possess an unusual power over the gangs. Boy gangsters were efficient, and fanatically brave, active skilful, quick, and calm.
He had a contempt for civilization. Where others used art to fill their sense of unfulfillment, he used crime.
Many English people blamed the bomb for everything, but to go on about the bomb was hypocritical tripe. We cured the plague and invented the bomb to take it’s place. Camus’ plague was Fascism…and it was never gotten rid of. Zola’s plague was the mines that he thought a new world would grow out of.
Society was a fermenting mass, a huge pot of pig-swill, boiling on fires of hatred and envy, of bad education and war, poverty and starvation, homelessness and joblessness. The scum rose to the top, where the police were supposed to skim them off with a ridiculously tiny spoon.
The state was foolish, but to do one’s duty was important. People despised the Germans for obeying the state. That was surely illogical. They might be blamed for creating that state, but not for obeying it.
1940 was a plague year. His generation was unlucky to have to go to war instead of finishing their education in peace. If they hadn’t gone to war they would have tasted the bitterness of unemployment and gang riots. Instead they were given guns and told to go kill Germans; a fine hunter’s license. Young men of eighteen were natural warriors, hunters, raptors. To channel those instincts into commercial throat cutting and financial rape was an unworthy ambition. Weren’t the gangs making a gesture against a society that sent them to classes to learn how to make money? But to talk like that was to be branded as atheist, or anarchist.
Men who keep bars, restaurants, cabarets, are predators too. In those businesses, it was instinctive to despise society. They see the captains of industry and the most respected members of society drunk and maudlin; like bored and whining children. If a barkeeper was bored with making money he could become a dangerous man.
The young gang members who used the upper rooms of the bar had a disdain for the herd. They made their own rules; their own self-government, like a society in miniature. Sons and daughters of the most influential figures in town; they were the future rulers of the town. They took the raven as a symbol of the top layer of aristocracy.
The police were there to protect the people, but the courts were there to protect the rich. The police that got promoted were the ones who caused the courts no trouble.
*
*
*
*
-
Black Irish
- Wellesnet Veteran
- Posts: 317
- Joined: Thu Aug 02, 2012 10:07 pm
Re: Work area
test
US President Orson Welles
https://groups.google.com/forum/#!searc ... nx6XUz_P4J
*
Was Orson Welles the Black Dahlia killer?
https://groups.google.com/forum/#!searc ... g6h3mwyswJ
*
Information required on Orson Welles role in JFK assassination
Count Baldoni:
Welles had asked the English actor David Niven to teach him the art of handling weapons. There was not much chance of Welles shooting a moving President from long range. Winton Churchill wanted revenge on Joe Kennedy due to Old Joe wanting Britain to be conquered by Nazi Germany in light of his Irish Republican ideals. Welles was roughed up on 2 occasions by Kennedy's goons at the bequest of WR Hearst the media tycoon. Errol Flynn was the man who recruited Welles for Churchill and Flynn would die in mysterious circumstances at home in the 1950's.
A stuntman attempted to beat Welles up at Romanoff's restaurant but Welles was seen fleeing with what resembled a large map of Africa on the seat of his pants. He was due to meet Flynn and it was from Flynn that Welles picked up the nickname "Sanders Of The River" due to the stain which resembled the aforementioned continent.
Did Welles fire the shot that killed JFK ? That is debatable because there were 4 shooters in Dealy Plaza on that day. I personally hold that Oswald fired and missed as well but the shots that killed the President were fired from the picket fence.
I have more to follow....
*
J. Nugent:
Yes please...<where IS that popcorn?>
*
Ivan:
Followed by a cigar and a glass of fine Oloroso!
*
GMK:
“Count Baldoni”? More like Cunt Baloney. Fuck off, loon.
*
Count Baldoni:
That is not the sort of language I would expect from one who listens to BBC Radio 4. Have a bit of respect for the nobility and do not dismiss offhand something that you know nothing about.
*
GMK:
Well Balloni, you are more cunt than Count. Secondly, all sorts listen to R4… and what the fuck has this got to do with R4? You say there were 4 shooters at Dealy Plaza and that Orson Welles may have taken a pot shot at JFK? Two words: FUCK OFF! Where is your evidence? Just because you type it doesn’t make it so.
*
Count Baldoni:
I have been in discussion with the BBC regarding this as part of my research. Did you not know that Welles had a long association with BBC Radio? Mind your language.
*
GMK:
So he had a long association with Sanderman Port too. What the fuck has that got to do with anything?
*
Rosebud and Gnosis:
http://nilesfilmfiles.blogspot.com/2011 ... d-our.html
El Proceso:
http://www.youtube.com/watch?v=50n0S6_3Tc0
*
PEER GYNT
Heston's first film was actually an indie, an adaptation of "Peer Gynt" that he filmed while a student at Northwestern University in the early '40s.
The Gate Theatre’s very first production was Peer Gynt.
Goya: The Sleep of Reason Produces Nightmares
http://www.ibsenvoyages.com/e-texts/thr ... peer-gynt/
http://www.kcrep.org/useruploads/files/ ... 11_REV.pdf
http://www.ibsen.co/portfolio/peer-gynt/
US President Orson Welles
https://groups.google.com/forum/#!searc ... nx6XUz_P4J
*
Was Orson Welles the Black Dahlia killer?
https://groups.google.com/forum/#!searc ... g6h3mwyswJ
*
Information required on Orson Welles role in JFK assassination
Count Baldoni:
Welles had asked the English actor David Niven to teach him the art of handling weapons. There was not much chance of Welles shooting a moving President from long range. Winton Churchill wanted revenge on Joe Kennedy due to Old Joe wanting Britain to be conquered by Nazi Germany in light of his Irish Republican ideals. Welles was roughed up on 2 occasions by Kennedy's goons at the bequest of WR Hearst the media tycoon. Errol Flynn was the man who recruited Welles for Churchill and Flynn would die in mysterious circumstances at home in the 1950's.
A stuntman attempted to beat Welles up at Romanoff's restaurant but Welles was seen fleeing with what resembled a large map of Africa on the seat of his pants. He was due to meet Flynn and it was from Flynn that Welles picked up the nickname "Sanders Of The River" due to the stain which resembled the aforementioned continent.
Did Welles fire the shot that killed JFK ? That is debatable because there were 4 shooters in Dealy Plaza on that day. I personally hold that Oswald fired and missed as well but the shots that killed the President were fired from the picket fence.
I have more to follow....
*
J. Nugent:
Yes please...<where IS that popcorn?>
*
Ivan:
Followed by a cigar and a glass of fine Oloroso!
*
GMK:
“Count Baldoni”? More like Cunt Baloney. Fuck off, loon.
*
Count Baldoni:
That is not the sort of language I would expect from one who listens to BBC Radio 4. Have a bit of respect for the nobility and do not dismiss offhand something that you know nothing about.
*
GMK:
Well Balloni, you are more cunt than Count. Secondly, all sorts listen to R4… and what the fuck has this got to do with R4? You say there were 4 shooters at Dealy Plaza and that Orson Welles may have taken a pot shot at JFK? Two words: FUCK OFF! Where is your evidence? Just because you type it doesn’t make it so.
*
Count Baldoni:
I have been in discussion with the BBC regarding this as part of my research. Did you not know that Welles had a long association with BBC Radio? Mind your language.
*
GMK:
So he had a long association with Sanderman Port too. What the fuck has that got to do with anything?
*
Rosebud and Gnosis:
http://nilesfilmfiles.blogspot.com/2011 ... d-our.html
El Proceso:
http://www.youtube.com/watch?v=50n0S6_3Tc0
*
PEER GYNT
Heston's first film was actually an indie, an adaptation of "Peer Gynt" that he filmed while a student at Northwestern University in the early '40s.
The Gate Theatre’s very first production was Peer Gynt.
Goya: The Sleep of Reason Produces Nightmares
http://www.ibsenvoyages.com/e-texts/thr ... peer-gynt/
http://www.kcrep.org/useruploads/files/ ... 11_REV.pdf
http://www.ibsen.co/portfolio/peer-gynt/
-
Black Irish
- Wellesnet Veteran
- Posts: 317
- Joined: Thu Aug 02, 2012 10:07 pm
Re: Work area
A Castle in the Clouds - The Life of Orson Welles
http://www.viewzone.com/orson.html
11 Historical Geniuses and Mental Disorder:
http://mentalfloss.com/article/12500/11 ... -disorders
Link Between Genius and Mental Disorder:
http://www.sciencedaily.com/releases/20 ... 073047.htm
http://www.viewzone.com/orson.html
11 Historical Geniuses and Mental Disorder:
http://mentalfloss.com/article/12500/11 ... -disorders
Link Between Genius and Mental Disorder:
http://www.sciencedaily.com/releases/20 ... 073047.htm
-
Black Irish
- Wellesnet Veteran
- Posts: 317
- Joined: Thu Aug 02, 2012 10:07 pm
Re: Work area
Riki Tiki Tavi notes:
Rikki-tikki's vendetta against all snake-kind is complicated by the fact that the cobras have wants and desires of their own—like the desire to raise a family.
The animal characters become so real that their dramatically overstated intelligence appears completely natural. Parents might point out that Kipling creates the reasoning skills and the degree of volition deliberately, to make Nagaina so evil and make Rikki so reasoning. Animals are not so calculating. That said, Cobras may just want to live but, by their nature, they are inimical to the humans Rikki so properly values.
Kipling builds Rikki’s heroism, as he faces greater and greater danger. At each step we see Rikki’s defence of his values as valiant and tactically brilliant. The battle reaches a climax when Nagaina is posed to strike and kill Teddy:
“If you move, I strike, and if you do not move, I strike. Oh foolish people…”
Rikki makes a desperate attempt to save Teddy, taunting Nagaina in a new and unexpected way. What does she do? In one moment, all the opposing values in the story collide.
The battle changes the relationship between our protagonist and the antagonists. Before this, Rikki-tikki was a nuisance to the cobras, but now he's a genuine threat to Nagaina. The same change happens in Rikki-tikki. After he kills Nag, his confidence grows. He realizes he has to deal with Nagaina now, as she'll be out for blood.
Not everyone had so high an opinion of Mr. Kipling. George Orwell called him "a jingo imperialist, he is morally insensitive and aesthetically disgusting."
This story is an epic, in which courage and skill defeat the forces of evil.
a parable of the British in India:
... the story of the adopted mongoose who loyally fights off the cobras which threaten the English family in their bungalow. The balance that has to be struck here is between the White liberal's refusal to look death in the face, and the mongoose's (i.e. loyal native's) utterly casual acceptance of it.
The non-Mowgli stories in The Jungle Book offered variations on the main themes. `Rikki-Tikki-Tavi', for instance, replayed the basic pattern of abandonment, fosterage and victory, but here the orphaned hero, the quick-witted mongoose, found loving human foster-parents; and, unlike Mowgli, he was personally allowed to kill his enemies, the cobras Nag and Nagaina and their offspring. In most of the tales the British presence in India was either minimal or simply not an issue...
...the theme of expulsion from Eden runs like a leitmotif through the whole of The Jungle Books. Mowgli, for example, is thrust by accident out of the bosom of his family into the hard jungle, there to survive or not as chance and his own talents may determine. The same is true of Rikki-tikki-tavi, a mongoose who is washed away from his parents in a summer flood and who must try to make a place for himself in a new world, to find love and acceptance in a new and different society.
Rikki has the moral virtues Kipling wants us to admire, but he is less part of the official machinery than Mowgli. There are no bears, etc: lecturing on civics; and the Law is only present by implication.' The mongoose has his own law, he is an empiricist.
One academic describes Rikki Tikki Tavi as an implicit story in support of British colonialism. To draw such a conclusion one has to evade or blank-out obvious knowledge of Rikki’s rescue and of his appreciation for Teddy, his family and the garden, all of which form his home. Though Kipling’s political leanings were obvious, it is a stretch to insinuate that his worst views determine the message of this story.
The metaphor sentence in Rikki Tikki Tavi is "I am Death!" This compares the snake to Death.
Everyone has his reasons. Evil doesn't see itself as evil. One cannot coexist or compromise with evil. You either root it out, or you are destroyed by it.
Rikki-tikki's vendetta against all snake-kind is complicated by the fact that the cobras have wants and desires of their own—like the desire to raise a family.
The animal characters become so real that their dramatically overstated intelligence appears completely natural. Parents might point out that Kipling creates the reasoning skills and the degree of volition deliberately, to make Nagaina so evil and make Rikki so reasoning. Animals are not so calculating. That said, Cobras may just want to live but, by their nature, they are inimical to the humans Rikki so properly values.
Kipling builds Rikki’s heroism, as he faces greater and greater danger. At each step we see Rikki’s defence of his values as valiant and tactically brilliant. The battle reaches a climax when Nagaina is posed to strike and kill Teddy:
“If you move, I strike, and if you do not move, I strike. Oh foolish people…”
Rikki makes a desperate attempt to save Teddy, taunting Nagaina in a new and unexpected way. What does she do? In one moment, all the opposing values in the story collide.
The battle changes the relationship between our protagonist and the antagonists. Before this, Rikki-tikki was a nuisance to the cobras, but now he's a genuine threat to Nagaina. The same change happens in Rikki-tikki. After he kills Nag, his confidence grows. He realizes he has to deal with Nagaina now, as she'll be out for blood.
Not everyone had so high an opinion of Mr. Kipling. George Orwell called him "a jingo imperialist, he is morally insensitive and aesthetically disgusting."
This story is an epic, in which courage and skill defeat the forces of evil.
a parable of the British in India:
... the story of the adopted mongoose who loyally fights off the cobras which threaten the English family in their bungalow. The balance that has to be struck here is between the White liberal's refusal to look death in the face, and the mongoose's (i.e. loyal native's) utterly casual acceptance of it.
The non-Mowgli stories in The Jungle Book offered variations on the main themes. `Rikki-Tikki-Tavi', for instance, replayed the basic pattern of abandonment, fosterage and victory, but here the orphaned hero, the quick-witted mongoose, found loving human foster-parents; and, unlike Mowgli, he was personally allowed to kill his enemies, the cobras Nag and Nagaina and their offspring. In most of the tales the British presence in India was either minimal or simply not an issue...
...the theme of expulsion from Eden runs like a leitmotif through the whole of The Jungle Books. Mowgli, for example, is thrust by accident out of the bosom of his family into the hard jungle, there to survive or not as chance and his own talents may determine. The same is true of Rikki-tikki-tavi, a mongoose who is washed away from his parents in a summer flood and who must try to make a place for himself in a new world, to find love and acceptance in a new and different society.
Rikki has the moral virtues Kipling wants us to admire, but he is less part of the official machinery than Mowgli. There are no bears, etc: lecturing on civics; and the Law is only present by implication.' The mongoose has his own law, he is an empiricist.
One academic describes Rikki Tikki Tavi as an implicit story in support of British colonialism. To draw such a conclusion one has to evade or blank-out obvious knowledge of Rikki’s rescue and of his appreciation for Teddy, his family and the garden, all of which form his home. Though Kipling’s political leanings were obvious, it is a stretch to insinuate that his worst views determine the message of this story.
The metaphor sentence in Rikki Tikki Tavi is "I am Death!" This compares the snake to Death.
Everyone has his reasons. Evil doesn't see itself as evil. One cannot coexist or compromise with evil. You either root it out, or you are destroyed by it.
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