Re: Elizabeth - The Golden Age Film Free Watch Online
Argimiro Krishnamoorthy
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The Princess Diaries - An extremely delightful film! This is one I grew up watching at sleepovers and it is still just as enjoyable watching it now. Anne Hathaway is so charming in her breakout role as Mia Thermopolis.
Join Lane Literary Guild and Eugene Public Library for a livestream Windfall Reading, a monthly gathering highlighting local and regional writers. This month, poets Nance Van Winckel and John Witte will read and take questions online in a celebration of the Pacific Northwest Poetry Series. Also appearing: Christopher Howell, poet and director of Lynx House Press, who will speak about the Pacific Northwest Poetry Series. More information and watch: bit.ly/WindfallNov2021
As for the messages conveyed by this film, the clearest one involves the apparent desirability of Button's situation. The standard attitude is that a person's youth is a golden age of vigor and good health, while old age represents a tragic decline into decrepitude and senility; thus, it might seem attractive to imagine reversing the direction of time so that someone could begin life as an old man, endure the miseries of age, then gradually grow younger and advance toward the pleasures of youth. This is the wish presented in the opening lines of Elizabeth Chase Akers's 1859 poem, "Rock Me to Sleep, Mother":
Hearing about all of Benjamin's activities, one might say that these are the sorts of things that many men do after many years of life. Indeed, one of the most interesting things about this film is that it invites consideration as a literalization of a male desire to constantly recapture's one lost youth by going to sea, taking risks, and/or abandoning responsibilities. As one of innumerable examples, one might recall the homeless man in With Honors (1994), who left his wife and newborn son to join the Merchant Marines. In effect, by getting younger and younger, Button is doing what most men dream about doing, his actual second childhood symbolizing their hoped-for second childhood. To put the point another way, one finds it hard to imagine a version of this story with the genders reversed an increasingly youthful Daisy abandoning her husband and baby daughter to travel the world and indulge in adolescent pleasures while a maturing Button calmly stays home to raise their child and gets a nine-to-five job; this simply doesn't seem the way that a woman and a man would act. Along with Fight Club (1999), then, The Curious Case of Benjamin Button is the other Brad Pitt film that my colleague David Werner might consider including in his college class on "Men's Issues." (The sense that Benjamin Button is just an exaggerated version of the typical male is reinforced by the film's reference to the Rodgers and Hammerstein musical and film Carousel (1956) when Benjamin visits Daisy in New York, he sees watches her dance to the tune of "If I Loved You" since it is another story about an immature man who acts irresponsibly, is forced to leave his infant daughter, and later gets to see her one more time as a young woman.)
There are glimmerings of other portentous ideas in this film, though these would have to be characterized as underdeveloped. Does the initially mature Benjamin's steady progression to infancy from 1918 to 2003 represent not only a male impulse, but all of American society's increasing impulse during that time to reject the aging process and retain the appearance and lifestyle of the young? Surely the most breathtaking special effect in the film comes with our final glimpse of the forty-something Brad Pitt looking exactly like a teenager, in a sense embodying the goal of many contemporary people in their forties. And then there is that other macabre way for celebrities to achieve eternal youth dying before their time, so that they remain forever youthful in our collective memories. There is no other way to explain the film's references to assassinations: Tizzy explains to Benjamin that he can recite speeches from plays because his grandfather worked for the actor John Wilkes Booth, the notorious killer of Abraham Lincoln: Teddy Roosevelt survived an assassination attempt during his 1912 presidential campaign which might have contributed to his death seven years later; and when Benjamin and Daisy watch the Beatles performing "Twist and Shout" on The Ed Sullivan Show in 1964, they are listening to another man who later became a political leader of sorts and was assassinated, the song's lead vocalist, John Lennon. Does a refusal to accept growing old, and an insistence on striving to become young again, thus represent a sort of death, a disinclination to properly keep growing and maturing, a form of self-assassination?
In choosing to express them as rhetorical questions, I'm obviously indicating that this film is only conveying such notions fitfully, if it is conveying them at all a state of affairs perhaps symbolized by the film's images of hummingbirds, which constantly flit about but never land. Yet if this is a film that sometimes seems unsure about what it wishes to say, I would choose such a film any day over the all-too-common alternative of a film seeking to bludgeon into my brain a simplistic message better suited for a Hallmark card. Consider the fact that a Philadelphia theatergoer named James Cialella Jr. actually shot and wounded a man because he and his family were talking too much during a screening of the film and then he sat down and continued watching the film until the police arrived to arrest him. It is strange and contemptible behavior, to be sure, but it does suggest that The Curious Case of Benjamin Button is a film that people will want to talk about, and a film that people will want to watch attentively without annoying distractions. And if such a film becomes a box-office success, that would be, for Hollywood, a curious case indeed.
This course approaches contemporary American film by way of its technological and social histories. Paying careful attention to a variety of cinematic genres, national traditions, venues, and formats, this course teaches the basics of film studies while examining closely the current conditions of filmmaking in the Americas. Over the past decade, new sources of funding have created a new global market for Latin American cinema, while at the same time, Hollywood films from the US have grown increasingly global in their content and production. Through regular film viewings, course readings, and frequent discussions, students will confront these recent transformations in the US and Latin American film industries. Because this course is also interested in the current conditions of filmmaking, students will also be asked to consider the continued relevance of feature-length filmmaking in the digital era, in which binge-watching, fan edits, amateur criticism, and streaming platforms have come to dominate the contemporary cinematic landscape.
I wanted to thank you for your Cassavetes on Cassavetes book. I rented it from my school library and ordered it online the same day. I needed a lifetime copy of my own. I also wanted to thank you for recommending other filmmakers I might have not have ever seen. I'm probably one of the few people who proudly own The Wife and What Happened Was...
I'm a graduate student of philosophy at the University of Toronto. You could say that I'm a film lover rather than a film goer: given the menu, I'd rather stay at home watching some classic than pollute my mind with the latest Hollywood blockbuster. Note that I say "classic" not because there aren't good films made today, but because they are not easily accessible. But you know this already.
In my bleakest moments, I would say to myself, well, I've got my wife, who I love, and that's what counts. I have a large number of books I'm obstensiably supposed to reading but am actually neglecting. Films, certainly. And writing-- and filmmaking. I can enjoy sunsets though I prefer overcast days. Not exactly financially stable, but not drowning just yet either. On the other hand, it's easier to love and provide for your wife when you're actually providing, easier to read a book or watch a film when you have working electricity. All those external things don't count as much as *living*, a job doesn't count as much as *living*, but we live in an external world and it's easier to live when you've got food on the table.
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