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the-celluloid-correspondent · 10 months

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Classic Movie Reviews

Mulholland Drive: Directed by David Lynch

Blonde Betty Elms has only just arrived to Hollywood to become a movie star when she meets an enigmatic brunette with amnesia. Meanwhile, as the two set off to solve the second woman's identity, filmmaker Adam Kesher runs into ominous trouble while casting his latest project.

Nothing could have prepared me for Mulholland Drive by David Lynch. It felt like a slow decent into a hellish nightmare that is grounded in reality. The reality was the abusive and manipulative landscape of Hollywood. From the notorious casting couch to the controlling nature of executives, Lynch called out the predatory nature of Hollywood fifteen years before the MeToo Movement. We watch out characters slowly uncover a mystery that turns into a nightmare. This nightmare is conveyed with Lynch's use of his classic dream sequences and color theory to help convey the mystery that he has refused to reveal. It's more horrifying than a stereotypical supernatural horror movie. An Oscar worthy performance was given from breakout star Naomi Watts and equally capable Laura Harring. Overall, Mulholland Drive is another Lynch masterpiece that will forever haunt your dreams.

My Rating: A

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Boogie Nights: Directed by Paul Thomas Anderson

In 1977, when sex was safe, pleasure was business and business was booming, idealistic porn producer Jack Horner aspires to elevate his craft to an art form when he discovers Eddie Adams. A hot, young talent working as a busboy in a nightclub.

You are going to need to take a very long shown and get tested for some STD's after watching Boogie Nights. Prepare to enter into the world of porn and cocaine as you watch Boogie Nights. In Boogie Nights, you enter a world of porn and cocaine as you enter into this fever dream of the 1970s. It is equal parts hysterical as well as a deep character study of ones life in the sex film industry, that somehow becomes heartwarming by its end. We follow our character rise, fall, and eventual redemption as he becomes a sex film icon. Mark Walburg give his best performance of his career here as he is toe to toe with Hollywood Royalty such as Burt Reynolds and Julianne Moore. Who also give Oscar worthy performances. It amazes me that this was made by a 26 year old Paul Thomas Anderson. His directing here is impeccable and rightfully earn his Oscar nomination for his writing here.

My Rating: A

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Bottle Rocket: Directed by Wes Anderson

Upon his release from a mental institution, the directionless Anthony joins his friend Dignan, who seems far less sane than the former, on a crime spree that somehow involves his former boss, the (supposedly) legendary Mr. Henry.

It's interesting watching a Wes Anderson film before he adopted his iconic style. Within Bottle Rocket you begin to his Anderson Iconic fashion take form. However, it still feels like a relatively normal film. Bottle Rocket is a relatively simple film with a simple story that relies on its eccentric characters who thrown themselves into more crazy situations to move the story forward. Is it perfect, no, but is it entertaining, absolutely. The film has some great and hysterical gags that have the classic Anderson spin to them. Brothers, Luke and Owen Wilson steal the show with their impeccable comedic timing and great brotherly chemistry. Overall, Bottle Rocket is a very fun movie, and a solid debut from Wes Anderson.

My Rating: B

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2001: A Space Odyssey, Directed by Stanley Kubrick

Humanity finds a mysterious object buried beneath the lunar surface and sets off to find its origin with the help of the HAL 9000, the world's most advanced super computer.

When I first watched 2001: A Space Odyssey, I was not really blown away. I thought it was an incredibly boring movie that required psychedelics to understanding it. But now watching it, almost 10 years later, I can see why many would regard it as a masterpiece. The film was way ahead of its time from both a technical and story perspective. The miniatures for the difference spacecraft were incredible and scientifically accurate for most part given the time period this film was made in. Furthermore, this film is on the border with existential horror and dread. This film is horrifying to watch as we are thrown into themes of humanities place in the universe and what happens when we realize when we are not alone. The scene leading to the monolith on the Moon was terrifying to watch. However, Kubrick does get a little carried away with the psychedelics, and causes the film to drag on, much longer than what it should have. With that stated, this is undoubtedly one of the most influential pieces in cinematic history

My Rating: A

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yourdailygranddaughter · 2 years

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Letting the kids go feral for the weekend. Glad that Camp Kesher has a Kid Camp component. (at Camp Sealth) https://www.instagram.com/p/CiBvYhLvNaT/?igshid=NGJjMDIxMWI=

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jordanrosenburg · 7 years

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My Week in Israel

Most students go home to work, catch up with friends and family, and relax over their winter breaks from college. I did all of those things, but not every student has a chance to go over seas on a free trip. I am Jewish, and therefore I have the birthright to visit my homeland of Israel.

In October 2016, my older sister and I began our application process with URJ Kesher, and in November it was confirmed that we were accepted to go on our birthright trip.

DAY ONE:

We flew out of JFK International Airport on Sunday, January 15th at 10:50 pm, and landed in Israel at 4 pm. Thirty-two Americans waited for their tour-guide. We were also greeted by Israeli soldiers, who I initially thought would be with us for extra protection. This was not the case.

The eight Israelis were there to experience birthright with us. They each got a week off from the army to go on this journey with us. A lot of people have preconceived notions about what Israel is like. I felt completely safe the whole time. We had a security guard with us the whole time, and he was one of the nicest people I have ever met. There aren’t bombs going off every second, and there aren’t military people walking the streets with guns. In fact, if you didn’t know that Israel was in a controversial area of the world, you would think it was one of the most peaceful places on Earth.

The weather was gorgeous the entire time, or at least I thought so. I am originally from Boston, so going from 20 degree weather to 60 degree weather made it feel like Spring time. This was cold for the Israelis, and for some of the Americans who were from down south/the west.

The first three days were jam packed. We had a lot to cover in seven days. The first night we did a lot of stuff to get to know one another, that I was expecting.

DAY TWO:

The next morning we were up early, and we wouldn’t be returning to a hotel until two days later. The food for breakfast was interesting. There was pasta with sauce, different kinds of salads, fish, dessert, and much more. They had eggs and cereal and toast as well. I will say that everything I ate tasted totally fresh and delicious.

After breakfast, we hopped on the bus, and headed to the old city of Jerusalem.

I was literally walking on history, thousand year old ruins were before me. We were able to see King David’s temple, and walk where our ancestors walked. Our tour guide was absolutely incredible. He would explain the history of where we were, and then connect it to why it is important today, and explain why we tell these stories.

We walked a little further, and we found ourselves at the Western Wall.

This was an extremely emotional experience for me. I wrote a personal note, and was able to put it in the wall. I touched the wall and really felt the energy run through my body. I felt truly blessed to be at one of the holiest sights in the world.

Then we got a lunch break. We got to walk around for a bit, and I tried falafel for the first time. It was absolutely delicious. After that, we took a two hour bus ride out to the desert. We stayed with the Bedouin people and experienced their hospitality.

The first thing we did there was ride camels.

Riding a camel is an odd experience. I don’t like roller coasters, and the way the camel had to get up off the ground scared me a little. I was only on it for twenty minutes, but at least I can say I rode a camel in the desert.

Later that night, we got to meditate under the stars with no light pollution. I’ve never seen a more beautiful sky. After that we ate a Moroccan style dinner and it was so delicious. Eating real pita in the Middle East is oddly satisfying.

After dinner, we played a bunch of games that the Israelis had to come up with for us. We played a name game, they taught us Israeli slang, and a couple other games that had some meaning behind them. When the games were done, we all sat behind a fire, talked, and played some music. It was a great way for us to get to know each other even better. We had to be up at 5am the next day, so I called it a night around 11. We all slept in this big tent on these little mattresses. We were given sleeping bags as well. I was smart enough to take a sleeping pill, so once I fell asleep, I stayed knocked out until my alarm went off. It was very cold in the tent, and a lot of people did not sleep well.

DAY THREE:

I remember hearing a lot of different alarms go off that morning. My sister, who slept next to me, stayed sound asleep. I gave her a little nudge and I told her it was time to get up.

We were up so early because we would taking a hike up to Masada to watch the sunrise. The actual hike up was only about twenty minutes. It was a little bit of a struggle for me, but I felt really good once I made it to the top. It was a little cloudy, but we all still saw the sun rise together.

Masada is an extremely important place for the Jewish people. It was where King Herod built his home. It was where the Jews tried to fight off the Romans. It was one of the few times in history that the Jews really fought back, using their brawn instead of brain. After our tour guide explained all of that to us, we took a group picture:

Then we walked around the ruins and got to see a lot of really cool architecture. We walked through King Herod’s actual bathhouse. which he based off of a Roman bathhouse. It was cool to see how he lived.

Walking and seeing the desert was incredible. It looked like a much larger version of the grand canyon. It looked like it could go on forever.

It was time to hike back down the mountain to go get a much deserved breakfast. But this would not be twenty minutes like before. Instead, we took a snake trail back down which took over an hour. The rocks were really rubbly so of course I slipped and fell right on my knee. I didn’t get seriously hurt, but it was sore for the next couple of days. Luckily one of my friends was walking next to me, and he helped me up, and made sure I didn’t slip all the way down the mountain. I heard my sister yell a little further up, “Are you okay?!”, and I yelled back, “Yes! Be careful!!”.

We ate breakfast at a hostel/resort and it was absolutely incredible. This time they had fried eggs on toast and potato filled pastries. There was still dessert and salad stuff, so that really must be the culture.

After breakfast we had some time to rest up on the bus, we were headed for the Dead Sea. When we got there, we stopped at a factory. This factory makes organic creams, gels, washes, etc all from the natural minerals, clays, and water found at the Dead Sea. So we each bought a little something before driving down to the private beach.

Here’s what you do at the Dead Sea: you rub the clay all over you that you find in the shallow part of the water (it helps make your skin soft and smooth), and then you go in the water. They have rules there, however, no swimming on your stomach and no splashing. Why? Because there is so much salt in the water that it would burn your eyes and if you drank like a cup of it, you would die. Magic happens when you lay on your back though. You float. Any person can float in the Dead Sea due to all of the salt. We were all laughing and freaking out, because a lot of us don’t usually float in water.

We had a long bus ride back to Jerusalem. I could not wait to take a real shower. I rinsed off at the bathhouse at the beach, but the Dead Sea leaves you feeling a little slimy. So we all took our showers, changed our clothes, and headed down for dinner. This consisted of more pasta, salad, and bread.

DAY FOUR:

This was the toughest day of all. We got up early, had breakfast and packed all of our stuff up. Then we had a political discussion as a group. We talked about Israel and Palestine and what the fight was really over. I won’t get into everything that was discussed, but I have a much better understanding of both sides of the conflict now.

All of the Israelis had to be dressed in their uniforms this day. We were going to Mount Herzl which is a large, beautiful cemetery where important leaders and veterans are berried. When we got there, our tour guide asked us what Americans do on Memorial Day. A lot of them said they party and get drunk. I sat there with another girl, disgusted. She saw that I kept shaking my head, and she asked me if I had any family in the military, and I said yes, but that wasn’t why I was so disgusted. For the Israelis, their Memorial Day isn’t about celebration, it’s actually quite somber. Since everyone in Israel has to join the army, that means they probably had a family member or close friend die in the war. Back here in America, if you don’t know someone personally, you probably have a friend of a friend of a friend. The Israelis use their Memorial Day as another day to grieve and mourn, not drink and party and have cook outs. We also talked about how in America, Memorial Day is commercialized, and that also makes me sick. Stores have big super sales because they know everyone has the day off. That’s not what our people died for, in my opinion.

After we discussed all of that, our tour guide explained who Herzl was, and why he was so important. He was the first big leader of the Zionist movement, so his grave is at the top of the mountain, and his children are berried right next to him. Our tour guide took us to where a lot of the presidents and prime ministers of Israel were berried and their importance. Then we went to the veterans part of the cemetery. I felt something strong in the pit of my stomach.

The last time I was at a veterans cemetery was over the summer, in Sarasota, Florida. My papa passed away, and it was, and still is, extremely hard for me. So being back in such a sacred, beautiful place, put those awful memories back in my head.

Before we walked to the graves, our security guard wanted to read us a story that he translated for us. It was about a man named Jon, and how Jon would never get to do basically anything again. This got to me. I cried the whole time he read the story. All I could think of was my papa. No, he was not a young man who died in battle. He lived through his time in the service, and lived a long, happy life. But, he would never get to meet my boyfriend, he would never get to see me get married (some day), he wouldn’t get to come to my college graduation. Even though I feel his spirit with me, and I know he’s watching over me, I would obviously still rather him be physically here. I would give anything to hold his hand one last time.

After our security guard finished, I asked a friend for a tissue, and ran over to my sister. I gave her hand a squeeze, and kept walking. All of the Israelis had a story to tell that day, each one of them more heart-wrenching than the last. We all cried that morning. Out of respect of where we were, I did not take any pictures, but believe me when I tell you, it is absolutely breath-taking.

We took a break from the heavy stuff, and got to walk around a market place in the new city of Jerusalem for lunch. One of the Israeli girls took a few of us to her favorite pasta place. You could choose from a list of pastas, sauces, and whatever you wanted in it. It was a very delicious, and filling lunch. It reminded me of something I would eat in America, and it almost made me feel a little better. Plus it was nice to have a break from my usual lunch, falafel and pita/hummus.

Walking around the market place gave me some perspective, and I’ve been telling this story to everyone because my ignorance, in this moment, was pretty funny. So, my sister and one of our new friends and I were walking, and we walked by a wine and cheese shop, so I say, “Oh my gosh! Look, they have a wine and cheese store here?! We have those! That is so crazy.” And behind me I hear one of the Israeli boys laughing, and I turn around and say, “Wow, that must’ve sounded stupid, of course you have stuff like that here.” And he said, “Yeah, and the best part is, you can even buy stuff with actual money, you don’t even have to trade your camel.” This made all of us laugh, so for the rest of the trip, that was our joke. Anytime we saw something we have back in America, we would joke about it with him. And he would say something funny like “Yeah, we actually have things here, it’s not just desert people.” But it really was funny because they don’t teach us how modern everything is there. It kind of looks like Florida or New York, depending on the area that you are in.

Play time was over after lunch, our next stop was the Holocaust Museum, once again, I did not take any pictures out of respect. Every inch of this place had some sort of significance. The architecture of the inside of the museum had significance. The woman who explained everything to us did a fantastic job as well. Everything she talked about, I had basically already learned, but there were a lot of small details that I had never learned that she brought up. There were also a lot of screens set up so you could listen to survivor stories.

I’m not going to discuss everything I saw at the museum because I just can’t do a lot of it justice, but I want to talk about the room they have at the end. At the end of the tour there is a big dome shaped room. When you look up, there are pictures of those who died. And around you are shelves of black books filled with 4 million people’s names. These are the recorded people who died in the Holocaust. There are also empty shelves for the other 2 million people they don’t have the names of. This room is chilling, and should remind us: NEVER AGAIN.

I didn’t think the day would get much heavier, but I was wrong. That night we all learned about this database that if you swab your cheeks, you can be matched with another Jewish person, and you can either give them your blood or your stem cells. A woman who had leukemia spoke about how she matched with someone from a birthright trip, and it saved her life. So I swabbed my cheeks, and now I’m in the database. This was my mitzvah for the trip.

After having such a heavy day, we were able to have a little dance party in one of the rooms in the hostel we were staying in. It was a lot of fun. We were all able to unwind after a somber day. It also gave me time to talk more to the Israelis about their every day life. One of them told me he was self conscious about his English. Let me tell you, all of the Israelis were very easy to understand, and their English was incredible. He said the hardest part was understanding some of our slang, and when we were being sarcastic due to our tones. I loved listening to them talk about their lives and the way they grew up.

DAY FIVE:

This was one of the first days we did not have to be up super early, and I was grateful for the extra sleep. However, my throat started feeling sore, and I ended up having an awful head cold for the next three days.

At this point and for the rest of trip, we would be in Tel A’viv. After breakfast, and a brief history lesson from a university professor (he gave an in depth lecture about how/why the Middle East got divided up the way it did) we got on the bus, and headed to a place called Jaffa (a town right outside Tel A’viv).

As you can see, it was a gorgeous day out. We got to walk around there for a little bit, these pictures are actually at a historical sight. We were sitting and standing on thousand year old steps!

Then we got to go to this giant market place in Tel A’viv. The girl in the picture above stuck with me (after I asked her to be my shopping buddy) and she helped me haggle in hebrew. We had a nice lunch together and I got her perspective on what it’s like to grow up in Israel and deal with what they deal with everyday. I had such a wonderful day with her, and it was one of my highlights from the trip.

That night, we all got together to do Shabbat. I grew up going to a conservative temple where the Cantor would chant the prayers from the torah. This trip, however, was reform, not conservative, which means we had a reform Shabbat. The only difference really is that the prayers are sang to a different tune played by a guitar. It was sort of tough for me because I knew all of the prayers, but I kept getting tripped up by the different tunes. This was also another time that I cried on this trip. During the service you say a prayer if you are mourning someone, and the minute the woman who was studying to be a rabbi spoke up about this, I began thinking of my papa. He was my nannie’s second husband, but was around ten years before I was born, so he’s always been my grandfather. He was catholic, so when he left us, we had a catholic ceremony for him, I never got to pray for him in hebrew. I looked over, and saw that my sister was crying, so I went over to her in the middle of the prayer, and we held each other and we cried. I didn’t care that people were looking at us, we needed each other. Later on, one of the Israeli boys told me that was a very beautiful and powerful moment, and he enjoyed watching us comfort each other. I was happy to know us getting emotional didn’t weird anyone out like I thought. That moment gave me a little bit of closure, getting to pray for him the way I knew how.

You’re not really supposed to do much on Shabbat, so after dinner, we all hung out and played games and listened to music. We also had a mini talent show which was very entertaining to watch. Since I wasn’t feeling well, I went up to bed after hanging out for only a little while. I also spent most of the time talking to my boyfriend on the phone when I could have been a little more social, but with the time difference I took any chance I could to hear his voice.

¯\_(ツ)_/¯

DAY SIX:

Another morning we got to sleep in a little late. I even slept through breakfast. This was the worst day of my head cold, I did not want to get out of bed, but I did. We concluded our Shabbat service, and by the time we did that, we went down to lunch, and I made sure to have some orange juice.

This was a very chill day. We went for a walk, and saw a couple more sights, and we got a chance to grab some ice cream which I had been craving. Everyone was really excited for the night to come. We’d be going to a dinner and then to a night club. So everyone got dressed up.

We broke off into groups when it came to dinner time, some people got sushi, some people got pizza, and of course my group just had to go to a hummus and pita place where I ate falafel for the fifteenth time, but it was still fun.

We were told to meet at a corner so we could all get into the club together, and of course we had to take another group picture.

This is one of my favorite pictures of a few of us, I can’t really explain why, but I just love it.

The club was so cool! One of the Israelis set it up for us, he knew the owner so we got these wristbands, and anytime we ordered a drink we would get a free shot with it. We even got the whole upstairs pretty much to ourselves. They played really awesome music too. Lots of killer throwbacks and stuff from now. They even played the “Friends” theme song and we all freaked out.

Did you really go to the club if you didn’t take some selfies to document it?

We had to leave a little after midnight which was sort of lame because we were all having such a great time. A lot of people stayed up late that night, but of course, I still wasn’t feeling well, so I socialized for like twenty minutes when we got back, and then I went to bed.

DAY SEVEN:

We got up early, it was the last day of the trip. The week flew by insanely fast, and even though we were trying to have fun throughout the day, the sadness of having to leave kept creeping into the backs of our heads.

We got to walk around Tel A’viv a little more, back near Jaffa. We got to walk closer by the water, and the view was just beautiful.

Then we went to a farmer’s market, where I got a very fresh fruit smoothie. My friends went to get more falafel and I just couldn’t do it. One of the Israelis went with me to get the smoothie, he also wasn’t feeling the falafel.

After lunch, we got to go to this really cool building where the CEO of birthright was, and we got to learn about a lot of the technology that was invented in Israel, they are super advanced over there!

When we were done with all of that, we went back to the hostel for the last time. We sat in one big circle, and the CEO of birthright sat with us. We went over all of the stuff we did throughout the week, and then we had to fill out a couple of surveys. Our last task was to go around and talk about our expectations of the trip, and our highlights of the trip. I talked about how it was such a good surprise to see how safe and normal everything was there. It was also a good surprise to see that the Israelis were silly just like us. At the end of the day, their still young and trying to have as much fun as possible like the rest of us. They aren’t these overly serious military people like I thought. My highlight was when my sister and I came together at the Shabbat service, and of course I cried when I brought that up, and I remember there was an Israeli sitting between my sister and I. He put his hand on my shoulder and gave it a little squeeze, and my sister and I held hands. I truly felt like we were all one big family.

Our last meal was burgers and fries, super American. The goodbye at the airport was bittersweet. This was where the Israelis had to leave us. Once again, I cried. I wish I had had more time with them. They were all so wonderful and I really wanted to keep getting to know them. I became friends with all of them on Facebook, but that didn’t make me feel much better.

We got our boarding passes, walked through the airport, and got on our plane back to America. After we had all gotten through customs, we had another goodbye. A bunch of Americans sharing tearful goodbyes after such an important journey. We were all friends on Facebook, and some were even already talking about setting up a reunion. This was such an amazing group of people and I’ll never forget any of them.

My sister and I made a quick pit stop to change, and then we went to find our dad, who was waiting for us. We ran to him and we hugged, and after being on an 11 hour flight, we now had a four hour car ride from New York to Boston.

POST TRIP THOUGHTS:

I am so incredibly glad that I went on this trip. I am also thankful birthright offers seven day trips, they used only offer ten day trips. I was happy to return home, but at the same time, I wish I was still there. I would love to go back some day. My new Israeli friends said we could call them anytime if we returned and they would tell us where to stay and where to go. Being able to go on this trip that was basically free was so worth while, and life changing. It made me think about a lot of things in my personal life and the world around me. I’ve always been proud of being Jewish, and I always thought I was a good Jew. Being able to be with only Jewish people was nice for a change. I go to a college in New Hampshire, so there aren’t a ton of Jewish people around. This trip reaffirmed that my heritage is a good one. I wouldn’t be who I am now if I wasn’t Jewish. The stories of my people are important, not that I ever thought they weren’t. But hearing those stories in basically the same places they happened, being immersed in that history is something I will never forget. I’ll go back to Israel again some day. Being able to take this journey with my older sister was also something I am grateful for. We aren’t super close, but now we have this. We shared this trip with one another, and that’s really important to me. I don’t think I would have been able to do this without her. Being able to grab her hand, or lean on her when I needed to meant more to me than she’ll know.

For those of you who are Jewish, and are of age for a birthright trip, I strongly suggest you go. Just do it. Fill out the application. You won’t regret it.

#israel #birthright #go kesher #urj kesher #masada #tel aviv #jaffa #jewish #jerusalem #the western wall #market place #trip #journey

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coochiequeens · 2 years

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Do not give up financial independence just to keep a man happy. If that’s what it takes to keep a man happy he’s not worth it. And what if he is the only one able to access money and he’s involved in an emergency?

In the controversial 2001 best seller, the American author Laura Doyle argues that the key to a happy marriage is a wife relinquishing control and allowing her husband to handle all decision making, including household finances, a lifestyle that is rooted in conservative biblical principles. “When you surrender to your husband, you accept that a supreme being is looking after you both,” reads one passage. “The more you admire your husband’s magnificence and how everything about him is just as it should be, the more you will feel God’s presence.” Though these tenets are rooted less in Jewish textual traditions than in the New Testament and in fundamentalist-Christian notions of wifely submission, they have seeped into the Orthodox community over the past two decades.

The Surrendered Wife’s popularity highlights how an insular religious group with carefully preserved boundaries can in fact be quite porous to outside influence—particularly to views popular on the American Christian right. A mini-industry of Orthodox “Laura Doyle coaches” and educators have emerged, most of them unlicensed yet fashioning themselves as quasi-therapists,

offering marital-harmony courses and workshops. Drawing from Doyle’s text (albeit sometimes without Doyle’s direct involvement or instruction), they teach women how to accept their husbands, to never criticize, and above all, to be aidel, the Yiddish word for “refined” or “demure.” But recently, the book’s proliferation in the community has stirred controversy, as some Orthodox women began to publicly criticize this sort of marriage education.

Traditional Jewish texts are complex regarding marriage. Though ancient Jewish law sees marriage as a sort of financial transaction, giving husbands control over their wife’s vows and ability to divorce, the idea of female surrender as a virtue is a foreign import. As intra-community struggles over Orthodox women’s rights have grown more heated in the past decade, this sort of literature has found a home within the community. Social media has created grassroots platforms for religious women to speak up about issues such as female erasure in public spaces, the right to divorce, access to female-provided emergency medicine, and sexual abuse. And in response, “there’s a real communal concern about what would happen if women would start to assert themselves,” Rivka Press Schwartz, an Orthodox educator, told me. “There is something scary for individual women about the power of their own anger, and it’s easier to say, ‘I choose to be surrendered in order to make my husband happy, to make me happy.’”

What’s more, The Surrendered Wife has attracted many Orthodox Jewish women who see it as a solution to what they perceive to be a marriage crisis. “I just wanted to share that I can honestly say that Laura Doyle book saved my marriage,” one woman wrote in a letter published on an Orthodox Jewish women’s lifestyle blog. Others see female submission as harkening back to a more traditional past. “May I venture to say that the reason why [Doyle] is so ‘controversial’ is that she is going back to what marriage used to look like?” wrote another woman in that blog’s comment section. “Her concepts are very much in line with the Torah perspective … Many rabbonim [rabbis] approve of her method.” (Doyle did not respond to multiple requests for comment.)

One of the most popular proponents of reframing Doyle’s work for Orthodox Jewish audiences is the American-born, Jerusalem-based author Sara Yoheved Rigler, who in 2013 created the “Kesher Wife Workshop”—a virtual seminar series that she has described as offering “basic ideas from The Surrendered Wifeamplified by the Torah.” Rigler has said that she has given this workshop to 2,000 Jewish women internationally. On a popular Orthodox podcast last year, she spoke about reframing dissatisfaction with one’s husband as heaven-sent. “This is from Hashem,” she tells her students, using the Hebrew word for God. “It’s not from my husband. I’m going to stop blaming my husband, criticizing my husband, because everything that happens to me is from Hashem.” That perspective, she suggested, “takes the sting out of it.”

But some women are calling into question the merits of these parallels drawn to Jewish doctrine. Leslie Ginsparg Klein, a scholar of Jewish women’s history and an Orthodox educator, told me that seminars like these are “a retelling of a completely non-Jewish ideology in Jewish terms in order to push girls and women into adopting a new social norm.” Another woman I spoke with, Rachel Tuchman, was engaged to be married when she first heard of the ideology, in 2003. “I couldn’t believe that it had infiltrated our community,” she told me. In her work as a licensed mental-health counselor in Cedarhurst, New York, where many of her clients are from varying Orthodox backgrounds, Tuchman told me she observes firsthand the consequences of subscribing to The Surrendered Wife’s ethos. “A lot of kallah [premarital] teachers are recommending the book, and I think that’s why it’s getting [attention] … Then people end up in therapy and … [I’m] like, ‘Where did you learn that this is how you should have a relationship?’” Doyle’s book may have gained nearly doctrinal status among many women, but, Tuchman said, it’s not based in Orthodox principles—“it’s really a cultural-societal influence.”

To some religious women, though, the question of authenticity is not as urgent as seeking the key to a happy marriage in a terrifyingly modern world. “There’s kind of a sense of family life being under attack, that the world out there is not welcoming to families, that the world out there is trying to get everyone divorced,” said Keshet Starr, the director of the Organization for the Resolution of Agunot, which is devoted to resolving contentious Jewish divorce cases. Some women, she said, are “looking for this perfect formula: Just follow these rules, and you’ll have a perfect, amazing marriage.” Fear of the outside world is prevalent—and, ironically, the solution to dealing with that fear comes from the outside, too.

According to historians, the American embrace of wifely submission was popularized in the 19th century with the cult of domesticity, or the cult of “true womanhood.” As men went to work outside the home and middle- and upper-class white women stayed back to manage the household, American religious literature and women’s magazines began to preach four virtues for the ideal wife: domesticity, purity, piety, and submission. Female labor outside the home was needed during the world wars, but afterward, the notion of wifely submission reentered the popular discourse, in an attempt to return to some myth of an idyllic America. “Part of that is reimagining the home,” Beth Allison Barr, a history professor at Baylor University and the author of The Making of Biblical Womanhood, told me over Zoom. “Part of it was ‘What do we do with all these displaced men who have just gone through this horrible thing?’ Part of it is ‘Let’s get them back in jobs; let’s build back their self-esteem.’ And part of that was reordering the household.”

The pendulum swung back and forth: The 1960s brought the sexual revolution, and then, Barr said, the early ’70s brought a desire for religious education. Some 1,600 women were enrolled in Southern Baptist divinity programs, many of them likely seeking ordination. “If all of those women came through, there was going to be significant displacement [of men]. And it is at that time that we see that crackdown,” Barr noted. In 1979, the Southern Baptist Convention experienced a conservative resurgence—and within a few years came conservative Christians’ widespread adoption of the verses in Ephesians 5: “Wives, submit to your husbands as to the Lord. For the husband is the head of the wife as Christ is the head of the church.” Barr characterizes the rise of the wifely-submission ideology, and the use of language like “biblical womanhood,” largely as a reaction to ascendant female religious power. “And then it just explodes onto the scene.”

Many religious Americans, both Christians and Jews, point to God’s punishment of Eve (“And he shall rule over you”) as proof of female submission being divinely commanded. That reading sees the text as prescriptive. In fact, the central description of the ideal wife, according to Genesis, is as a “helpmate opposite him.” It is this phrase in Hebrew, ezer k’negdo, that is most cited in the Orthodox Jewish community: in girls’ schools, at wedding ceremonies, in eulogies. The phrase suggests that a spouse ought to be a foil, a point of contrast, neither a mirror nor a servant. The righteous wife is also often referred to as akeret habayit, the bedrock of the home, in a complementarian sort of way; families sing an ode to the “woman of valor” at the Sabbath table weekly, praising the Jewish wife as both a domestic queen and a shrewd businesswoman.

But as today’s Orthodox women attain educations, pursue careers, become breadwinners, access the wider world through the internet, and even build independent platforms for themselves, that complementarianism has been challenged. Some community influencers have turned to conservative American Christian thought for its language on submission within a religious framework, in order to maintain a certain status quo around gender. This sort of anxiety isn’t new—the history of modern-day Orthodoxy is one long chain of reactions to outside influences, whether dominant religious cultures or secularism. Orthodox Judaism as a whole has grown more stringent, in what sociologists call a “slide to the right,” as a response to the pervasiveness of secular culture. And yet, as Doyle’s influence shows, this community’s boundaries are, as ever, permeable. “There’s no way to exist in American culture and not be in some way influenced by it,” Ginsparg Klein, the Jewish women’s-history scholar, said. “Throughout history, the Jewish community has been influenced by its surrounding culture and has likewise influenced its surrounding culture.”

Indeed, the Orthodox Jewish adoption of The Surrendered Wife is part of a bigger trend: As large swaths of the community have aligned themselves with the Christian right, they’ve built political alliances based on the idea of a shared Judeo-Christian worldview, on concerns about social issues regarding abortion and gender, and on a general sense of an existential threat posed by secular progressivism. Concurrently, a younger generation of religious women that is plugged in to online discourse is being exposed to alternative critical voices. The tension will only continue to grow. As this community struggles with assimilation and with its boundaries around authenticity, the outcome of that struggle will likely set the tone not just for the design of a home, but also for female visibility and leadership in the Orthodox sphere.

#The surrendered wife #Conservative religious communities and women’s rights

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watching-pictures-move · 3 years

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Movie Review | Mulholland Drive (Lynch, 2001)

This review contains spoilers.

David Lynch's Mulholland Drive was released in recent years by the Criterion Collection, that great home video company that's probably the OG of boutique labels, known for putting out acclaimed, significant or otherwise interesting films in really nice packages. (For some reason I had been thinking they put this out only last year until I actually looked it up. I guess my sense of time has been a little warped as of late, and as much as I'd like to tie this review into pandemic-era life, the fact is other labels have captured my attention lately, as can be evidenced by my embarrassingly large and extremely shameful Vinegar Syndrome haul from their Halfway to Black Friday sale from a few months ago.) Now, nobody in 2021 is going into this movie truly blind, but if I happened to pick up the Criterion cover and perused the back, aside from the list of special features and disc specs, you'd see the below (which I grabbed off their website):

Blonde Betty Elms (Naomi Watts) has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia (Laura Harring). Meanwhile, as the two set off to solve the second woman’s identity, filmmaker Adam Kesher (Justin Theroux) runs into ominous trouble while casting his latest project. David Lynch’s seductive and scary vision of Los Angeles’s dream factory is one of the true masterpieces of the new millennium, a tale of love, jealousy, and revenge like no other.

Now, this is a tough movie to evoke with only a blurb, but I'd say that does a pretty respectable job. I however do not own this release. What I do own is the barebones Universal DVD that was released a few months after the movie, back when going into the movie blind would have been far more likely. This is the description on the back:

This sexy thriller has been acclaimed as one of the year's best films. Two beautiful women are caught up in a lethally twisted mystery - and ensnared in an equally dangerous web of erotic passion. "There's nothing like this baby anywhere! This sinful pleasure is a fresh triumph for Lynch, and one of the best films of the year. Visionary daring, swooning eroticism and colors that pop like a whore's lip gloss!" says Rolling Stone's Peter Travers. "See it… then see it again!" (Time Out New York)

Now, the previous description probably couldn't fully capture the movie's essence, but this one makes it sound like an erotic thriller. (Could you imagine somebody going into this thinking this was like a Gregory Dark joint? I say this having seen none of his thrillers and only his hardcore movies, although I must admit an MTV-influenced Mulholland Drive starring, say, Lois Ayres is something I find extremely intriguing.) But you know what? Good for them. Among other things, this movie, with its two all-timer sex scenes, feels like one of the last hurrahs from an era when mainstream American movies could be unabashedly horny, before we were sentenced to an endless barrage of immaculately muscular bodies in spandex (stupid sexy Flanders) somehow drained of all sex appeal (god forbid somebody pop a boner...or ladyboner, let's be egalitarian here). I apologize if I'm coming off as a little gross, but having been able to barely leave the house for practically a year and a half, watching sexy movies like this is one of the few remaining thrills at my disposal. Please, this is all I have.

Now I suppose I should say something about the movie itself, but it might be a challenge given how elusive it is in certain respects (Lynch is notoriously cagey about offering interpretations of his movies) and, as a result, how heavily it's been scrutinized over the years. No doubt any analysis I offer as to the movie's overarching meaning will come off extremely dumbassed. What I will note however, is that for whatever reason, the scene I remembered most vividly is where Justin Theroux walks in on his wife with Billy Ray Cyrus, particularly the candy pink paint he dumps on her jewellery as revenge. We've been following Theroux, a movie director, as he's been having a terrible, horrible, no good, very bad day, having had control over casting his lead actress taken from him, which he proceeds to process by taking a golf club to a windshield of his producers' car and then reacting as above when he finds his wife with the singer of "Achy Breaky Heart".

With his Dune having been notoriously tampered with by producers, I suspect there's a bit of Lynch's own experience in the scene with the producers, which plays like an entirely arbitrary set of rituals deciding the fate of his movie with no regard for his opinion or even basic logic. While I don't know how particular Dino DeLaurentiis was about his espresso, I did laugh. Now, taking the reading that the first two acts of the movie are a fantasy of Naomi Watts' character, who is revealed to be miserable and ridden with jealousy in the third act, the amount of time we spend with Theroux is maybe hard to justify. Is this perhaps her "revenge" on him, his romantic and professional success having been flushed away while he flounders in search of greater meaning to his arc? Aside from possible autobiographical interest, these scenes do play like a riff on the idea that everyone is the main character in their own story, and if the Watts and Laura Harring characters can be thought of as having merged or swap identities, then perhaps Theroux's arc is the remainder of that quotient. (Now, it's worth noting that aside from being insecure and arrogant, Theroux in this movie is a less stylish than the real Lynch. If Watts conjures the best version of herself in her dream, Lynch maybe doesn't want his dream avatar outshining him.)

Now why did the Cyrus scene stick with me all these years when other details had slipped? Mostly because I'd found it amusing, partly because of the extra specific image Lynch produces, and somewhat because of the casting of Billy Ray Cyrus. Now, I don't have any special relationship to the Cyrus' body of work, but Lynch's casting of him, with his distinct mix of bozo, dudebro and hunk, results in a very specific comedic effect. This is something Lynch does elsewhere in the movie, like when he has Robert Forster show up as a detective for a single scene. The Forster role is likely in part a leftover from the movie's origins as a TV pilot, but the effect is similar (albeit less comedic). Melissa George appears as a woman who may or may not be a replacement for Watts in some realm of reality. Other directors obviously cast actors for their screen presence and the audience's relationship to their career, but the way Lynch does it feels particularly pointed, as if he's reshaping them entirely into iconography. The effect is particularly sinister with the presence of Michael J. Anderson, with whom he worked previously on Twin Peaks, and Monty Montgomery as a mysterious cowboy who dangles the secret of the movie over Theroux's character.

Cowboys in movies are frequently heroic presences (see any number of westerns) and are otherwise innocuously stylish (I confess I've come dangerously close to ordering a Stetson hat and a pair of cowboy boots), but the presence of one here feels like a ripple in the movie's reality. A dreamy, brightly lit mystery set in Los Angeles should have no place for a cowboy. It ain't right. (It's worth noting that Lynch at one point copped to admiring Ronald Reagan for reminding him of a cowboy. Is this his expression of a changed opinion? I have no idea, but Lynch has never struck me as all that politically minded.) Neither is the hobo that appears behind the diner. Certainly hobos have made their homes behind diners, but this one's presence and the way Lynch produces him feel again like a ripple in the the movie's narrative. Jump scares are frequently knocked for being lazy and cheap devices to generate shocks, but the one here gets under your skin.

Now about the movie's look. This starts off like a noir, and the mystery plot on paper would lead you to think that's how the whole movie plays, but the cinematography is a lot brighter, with almost confection-like colours, than that would lead you to believe, at least during the daytime scenes. This is another element that likely comes from its TV origins, but it does give the movie a distinctly dreamlike, fantastical quality that a more overtly cinematic look, like the one Lynch used in Lost Highway a few years earlier, might not capture. This is one of the reasons I think this movie works better than that one, and there's also the fact that the amateur sleuthing that drives the bulk of the plot here serves as a more pleasing audience vantage point than the male anxieties that fuel the other film. I also would much rather hang out with Naomi Watts and Laura Harring than a charisma void like Balthazar Getty.

The manufactured warmth of the daytime scenes also results, like in Blue Velvet, in the nighttime scenes feeling like they're in a completely different setting, one which perhaps offers the key to unlocking the mystery, or at least revealing the phoniness of the movie's surfaces. I think of the evocative Club Silencio sequence, which comes as close as anything in the movie to laying its illusions bare. ("No hay banda.") But at times Lynch will throw in disarmingly childlike, inexplicable imagery, like the dancing couples against a purple screen in the opening, something that would seem tacky and amateurish elsewhere but feels oddly cohesive here. There are a number of directors whose work I admire for being "dreamlike", and putting them side by side they all feel quite distinct (you would never mistake a Lucio Fulci film for a Lynch), but they have the unifying idea of imbuing the tactile qualities of film with the truly irrational to really burrow into your subconscious. Other directors have made movies with some of the same elements as Mulholland Drive, but none have put them together in quite the same way.

#film #movie review #mulholland drive #david lynch

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mindctrlaltdel · 3 years

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Random Reviews: Mulholland Drive

This movie is BASIC INSTINCT, written and directed by Salvador Dali.

***

Recently, I watched MULHOLLAND DRIVE for the first time for my friend Shawn Eastridge's podcast, MISSING FRAMES (www.thenerdparty.com/missingframes/episode-103-mulholland-drive).

As I watched this odd, funny, disturbing, interesting flick, I took the following notes. Is it, as some critics say, the BEST FILM OF THE 21ST CENTURY? Here's an inside look at my viewing experience as I mulled over MULHOLLAND DRIVE...

[PRESS PLAY]

I love how the first five minutes is basically a bad late 90's Gap commercial, all swing dancing, no point...

The Mulholland Drive sign is calling to us. The street, Mulholland Drive, is Bali Hai for perverts.

Justin Theroux gets top billing over Naomi Watts??

I gotta admit, I saw one of the movie's original posters and thought "Naomi Watts AND the lady from the first MEN IN BLACK is in this? It's the triumphant return of Linda Fiorentino." When I DIDN'T see her name in the opening credits, I was disappointed. She's NO Linda Fiorentino... for this role, she's even better. AND she's a countess (seriously, look it up). Oh, and Robert Forster shows up for 10 minutes.

Not-Linda Fiorentino has some hustle in her for someone who just survived a horrible head on collision.

I like how the street signs kind of tell us where we are and what kind of world we're in. It's like a surreal, dramatic version of that Californians SNL sketch.

You mean to tell me that the red-headed older woman didn't see not-Linda Fiorentino under her kitchen table? UnbeLIEVable.

Holy crap, the wide-eyed guy in Winky's - he plays Jimmy Barrett, the comedian in MAD MEN... and MAD MEN is an interesting connection here, because everyone talks in this measured, paced deliberate way throughout that series, kind of similar to how the characters usually speak in the David Lynch productions I've seen... When I started watching MAD MEN, I thought the actors were purposely directed to speak that way, so everything to seem more "real" as opposed to that fast-talking, old-Hollywood style that you'd expect to see from outspoken, big idea-types. I imagined that Matt Weiner wanted people to seem - at least to modern audiences - the way people actually were - particularly, the inhabitants of the intelligent and cerebral world of ad men, working behind the scenes, on the fringes of show business. But then Jimmy Barrett, an old-timey comedian ALSO spoke that way. And it just didn't seem authentic to me. Anyway, back to THIS movie...

OH and that dingy woman behind the dumpster! She's like if Captain Howdy moved out West and got all LA on us. Is that Cloris Leachman covered in mud? And the music... for some reason, there's nothing scarier than the sound of an HVAC vent on full blast. (According to this article, www.vulture.com/2014/10/mulholland-drives-evil-hobo-breaks-her-silencio.html,the actress who played Evil Hobo #1 said of her audition process: "I don’t mean to brag, but David Lynch said he was looking for the most incredible face he could find. I actually met him at a Twin Peaks party, and he was like, 'Look at that face!'")

I love the X-Files-style synth strings that play over Naomi Watts (Betty) and gram-gram (Irene) as they walk through the hotel, I mean the airport... Aw, these two old people love Betty. What a different life she's living than that countess who's not Linda Fiorentino who's squatting in that redhead's apartment that Betty's about to move into.

Even then, Naomi had a good American accent. (Although I learned she's technically British but split her time between England and Australia), those Australians are great at spitting out neutral American sounds. But once I learned that Betty is supposed to be Canadian, I was very disappointed. It's not THAT authentic. Where are her "Aboots"? And she didn't put maple syrup on anything in this whole movie.

Oh my God, are Irene and her husband, riding in this towncar, ALSO going to get held up, like not-Linda Fiorentino at the beginning of the movie? Oh okay, they're not. We just followed them for no reason other than to see that they look happier than an old couple in a Cialis commercial. I guess meeting Betty really improved their sex life or something.

Coco - of course she's a fading hollywood starlet... AHHH, Coco is played by Ann Miller - good for her. She's basically that kooky old landlady from SEINFELD, the one who worked with the Three Stooges that Kramer met when he went to LA. Look at all these connections!

"Prize-fighting kangaroo who shits all over the courtyard" - do you think Naomi Watts is going to come out and say, "as an Australian, I was actually offended by this line, but I was scared into silence by that power-hungry monster, David Lynch."

The countess - who now goes by "Rita" - does kind of look like Rita Hayworth. I like the connections to old Hollywood and to noirs and how it's all wrapped together. Rita Hayworth is also a redhead, like Betty's aunt. She's of Spanish descent as well... and the actress playing Rita in this movie is of Mexican descent... Connections, connections.

I love that this casting session is basically run by a deep state shadow organization with a weird waiter in a red blazer... This is how Disney cast WandaVision.

HAHAHAH "That is one of the finest espressos in the world sir!" - this is DEFINITELY how Disney casts their movies. And Justin Theroux is the only man with integrity in this room! Does anyone have any class in this town!? They don't even validate his parking.

This is my favorite movie about making movies since BOWFINGER. And I may not be lying. And somehow less weird than THE ARTIST.

Is everyone gonna start killing each other over Ed's famous black book? This is oddly funny.

"Something bit me bad!" This incredibly long fight scene between the blond guy and secretary... it reminds me of the Uma Thurman/Daryl Hannah trailer fight in KILL BILL VOL. 2 but with less snakes.

These closeups of lingering looks on Rita's cash-filled purse are great... She's pulling wads of cash out of that purse one at a time, like Leslie Nielsen pulling eggs out of that blond lady in AIRPLANE!

I want to know what direction David Lynch gave that braless woman who's following the blond assassin around. It's like she's doing an acting exercise... like you know, when you're told to fill the space... "walk around the room, and clear your head. And now you're walking really fast. And now you're slow. NOW, imagine what it would be like to walk with your nose as the furthest point in front of you. Lead with your nose..." And David Lynch did that and told the braless woman to lead with her chest.

Justin Theroux is basically Robert Downey Jr.'s character from BOWFINGER, except NOW, he's the protagonist.

Betty is loving Rita's amnesia a bit too much. If this were my life, Rita would be the most interesting thing to happen to me too. Hell, if I was from Ontario, getting off at LAX would rock my world.

When Justin Theroux enters his glass-walled home to find his wife with another man, well... Justin Theroux may never star in something like HOBO WITH A SHOTGUN, but I can definitely picture him in YUPPIE WITH A GOLF CLUB.

That slinky theme song playing in Justin Theroux's/Laraine's house is a song that I actually listen to in my tiki, lounge playlist - to give you a hint of my music tastes. What I listen to for fun, Billy Ray Cyrus puts on to drown out his love-making.

By the way, BILLY RAY CYRUS!!! WHAT? Is this how Miley was conceived??? I think yes.

Pink paint in a jewelry box! This is much better than the usual throwing-all-his-belongings-out-a-second-story-apartment-window-scene that happens in every other movie.

I wouldn't be THAT excited if I learned MY name was Diane Selwin. BUT the sexxxual tension with the waitress Diane at the diner is palpable!

So, not-Linda Fiorentino has amnesia. How does she know that answering machine is NOT her voice!?

Justin Theroux/Adam Kesher's wife is very aggressive with the large man who's so dedicated to finding Adam Kesher that he keeps calling Adam's name in vain like the secretary in my doctor's office.

I watched this movie in pieces, the first half late at night. The second half the next morning. In between, while sleeping, I had a dream where Betty and Rita were looking over a map and any time one of their hands brushed over another, their hands would turn gold. As if this was a stylistic choice made by the filmmaker directing my dream to show that there's some kind of deeper relationship between these two women. So I've started dreaming in Lynch.

I like how this film is so utterly connected to not only Lynch's subconscious, but the audience's as well. Lynch is TAPPED IN. I don't always love when a film goes all in with a surreal style, because sometimes that's just a cover for something lacking in the storytelling department. But I do feel there's more to it here, in MULHOLLAND DRIVE.

The hooded woman, Louise... I feel like I've run into her on the streets of New York. A Louise will ALWAYS find a way to give you a portent of doom that ruins your day. Friggin’ Louise.

This movie is so moody, you really have to be in the mood to watch it.

There's something magical and prophetic about the cowboy, like he's the seer that the old general sees on the eve of battle... Also, I love how the lead female role in Justin Theroux's movie is his sword of destiny. There's a glitz and gleam and nostalgia to Old Hollywood that naturally gives this movie, set in "modern" Hollywood," a total fantasy vibe.

Hahaha that "You're still here?" scene rehearsal between Betty and Rita is an excellent transition.

James Karen - the real estate guy from POLTERGEIST - is handling casting! "He moved the headshots but he didn't cast the bodies!!"

The casting direction: "Don't play it for real until it gets real." It's interesting how the characters, who work in the "business," seem to control their reality. Betty seems unsure of where the scene is going, then she gets into it. And it really speaks to her conversion from a bright-eyed new arrival to someone who surrenders to the darker impulses of the city.

HEAVY BREATHING.

Ugh friggin' Bob...

I love how Lynnie, the casting director, pulls the rug out from under that scene. There's always a jaded casting person who totally wrecks any good feelings about every audition. It's a thing.

David Lynch uses nostalgia and a latent love for Hollywood to draw the characters (and us) into his world and then subverts our expectations. A lot.

Why is the screen test just a lip-synching contest? ...I think it feeds into the nostalgia element for the movie at large but it seems like a waste of studio resources here. Early-aughties Hollywood spending, amirite?

Rita's reaction to finding the body is played very much like the reaction a character would have in an older film... The horror! The fear! The silent gaping terror while possessed with the inability to scream. I was watching the original KING KONG before this (which is may be a sign from the universe that I had to watch this Naomi Watts vehicle, as she starred in the remake), and specifically remember the scene where the director Carl Denham is coaching Ann Darrow/Fay Wray on how to act in a horror film - "now look up, and you see it, you see it in all its horror. And your jaw drops and you try to scream but you're so frozen in terror that you can't!" - I imagine that's what Lynch is doing to not-Linda Fiorentino off-camera as they filmed this scene.

Uh-oh, Rita is single-white femal'ing Betty now... She doesn't have a personality of her own, so she's going to take Betty's.... And now we're just getting NUDE with each other. This erotic thriller immediately turned from skintillating to Skinemax.

"I'm in love with you" - is Betty just saying that to convince herself? It feels more lusty than real. Betty's so bright-eyed and bushy tailed. Rita is gonna chew her up and spit her out!

I like the shot when they're sleeping together and, as they rest, their faces overlap thanks to the perspective of the framing. How much of the same person are they becoming? Where does one personality start and the other end?

The weird 2am theater. How'd Rita and Betty find this place? I love how this pop-up slam-poetry reading in this opera house is as terrifying to Rita and Betty as finding the dead body.

So Betty starts convulsing in her seat and then the poet disappears in a kind of old-style, cinematic I'm disappearing effect. I dig it.

Wait... is this a mysterious, magical show that just appears in LA, like Hamunaptra, the City of the Dead, that town in THE MUMMY that only shows up at sunrise on the third day or something like that? Or is this just a poorly attended Spanish-language talent show that could only afford to book this theater at 2am on a Thursday?

I love that Betty and Rita are tearing up over Rebekah Del Rio's performance (Rebekah Del Rio is a real person, by the way). Then, Rebekah faints as her voice keeps singing - is NOTHING real? Has Betty totally given into this weird world to the point that she doesn't really know what's authentic and what's fake anymore OR was Betty fake before she got to LA so it was easy for her to get acclimated.

This movie is like THE MATRIX, from the perspective of characters who only took the blue pill and didn't look back.

OOOH, Betty has the box and Rita has the key! But the box is empty except maybe its the Gom Jabbar pain-box from DUNE. Is David Lynch using MULHOLLAND DRIVE as an excuse to make good on his promise to produce a good version of DUNE.

WAIT A SECOND, the cowboy knows the dead girl? Does this even matter?

Now, wait ANOTHER second. Is Betty performing or DREAMING when she's Diane or is something else going one??

What's the BLUE KEY doing there?

"Two Detectives"??? Is she talking about Betty and Rita OR Robert Forster and the pudgy guy? OR someone else entirely - the two guy's from Winky's???

The movie became more interesting the moment the perspective shifted to "Diane" and "Camilla." When that happened, Naomi Watts really amped up her performance... reaching a level of intensity we hadn't seen since Betty's audition... it does take 2 hours to reach that point.... But then, when Betty and Rita are topless on the couch, I couldn't tell who they were supposed to be until Rita/Camilla called her "Diane."

Wait, now Rita's acting?? OH, so Rita was an actress? And Diane wasn't? Or Betty looks exactly like Diane?

The weird shifts in focus. The sad masturbating. This is the most depressing soft-core ever made!

Did Betty get killed and have amnesia too?

They take a shortcut to Eddie's house which looks EXACTLY like where Rita/Camilla was taken at the beginning of the movie by the hitmen in the towncar before that wild accident with those teenagers made her life weirder... OR less weird. You be the judge.

IS this a flashback or the future. Eddie and Camilla are having an affair?

MY MOTHER? COCO - what's real and what isn't????

The jitterbug competition.... Diane/Naomi wanted the lead so bad, Camilla got the part but in Mulholland Drive, Naomi is the star.

Then, Camilla is kissing that other blond actress who Betty watched screen test...

MULHOLLAND DRIVE is just David Lynch telling us that LA is a place for lust and jealousy and no matter what, purity gets ruined.

WHAT, the blond waitress is BETTY? And Diane hires the blond guy, who's officially labeled as a hitman.

Diane is also from Canada...

Are Diane and Betty just different versions of the same people in nearby parallel universes? I certainly HOPE so. This is too much insanity for ONE universe to handle.

The blue key will be found where the blond guy told Diane. Okay, that makes sense. But if this were to mirror real life, the key was in her hand the WHOLE time!

OH, and hobo-Cloris Leachman comes back... AND she's holding the blue box/Gom Jabbar... WHY the hell did those two old people wander out of that paper bag??? Do they represent longstanding guilt? Seems like it. Because they've just crept into Diane's apartment.

MULHOLLAND DRIVE is almost silly to the point of pretentiousness at points - at least with the last word to be uttered on screen - "silencio." That said, it does evoke the HAMLET line: "And the rest is silence," so THAT's poetic.

Sadly, Robert Forster was barely in this movie...

Oh, and Lee Grant played Louise - the old-Hollywood connections keep coming!

I can't believe this movie was intended to be a pilot?

***

Now, some final notes:

On the swapping of characters and relationships in the last 30 minutes -- my first thought was that Betty/Diane and Rita/Camilla look similar and/or they're connected by a parallel universe, and the diner is like the central hub between worlds, and hobo-Cloris Leachman is the gatekeeper between the two worlds... I buy the "dream world" explanation that some critics espouse, that's something I considered myself as I watched. But I'm not sure I believed Betty is Diane's dream version of herself. Also, I think David Lynch has a feeling about how everything fits together, yet I don't know if he's even settled on an explanation for everything. He just trusted his subconscious and he's so confident in his latent abilities, that we trust him to show us everything we need to see and take us everywhere we need to go.

I enjoy how it's a surrealist answer to SUNSET BOULEVARD. I hope in 2050, someone makes "The 405" really tying all these movies and Los Angeles roads together.

MULHOLLAND DRIVE is weird but good. Still, I don't know if, to me, it's more weird than good. It's also funny. But is it funny because it's weird or because it's actually, genuinely funny? Are these questions David Lynch actually wants me to ask or does he make it weird on impulse to cover for the fact that the film is simply just weird and based entirely on impulse? MULHOLLAND DRIVE is almost like a parody of a film noir, made by an inter-dimensional alien life-form who studied a bunch of movies from the 40's through the 90's but doesn't have a full grasp on human behavior, and DESPITE THAT, it's more of an emotional experience than a logical one. It's somewhere in between. It's self-indulgent in a way but also very giving. It's a paradox wrapped in an oxymoron wrapped in an enigma wrapped in a coffee-stained napkin covered in cigarette ash locked in a small, blue box.

***

Summing it up: I don't think there's a world where this movie would get a perfect score from me. Because ultimately, for all it's interesting and exciting moments, it's more of a passion project for David Lynch than a piece of entertainment for the audience, no matter how entertaining it may be. To me, it's a vision board more than it is a complete film. And yet, it IS a complete EXPERIENCE. And there's nothing wrong with that.

All of that said, I know David Lynch doesn't really like to give viewers a clear cut, traditional narrative. So, I had a feeling the mystery was just that, a mystery. Or even moreso, the FEELING of a mystery. It's not about where we're going, it's about the journey to the destination. And while the general atmosphere is moody and evocative and often powerful, MULHOLLAND DRIVE plays more like a 2.5 hour piece of music than a cohesive narrative. Maybe that's the best thing about it.

In the distant future, when our way of speaking has become as archaic as the words of Shakespeare are to us, it's the feeling and emotions and images of movies like MULHOLLAND DRIVE that will still have a timeless impact on the future audiences who view them.

#Random Reviews #movie review #review #Mulholland Drive #David Lynch #Missing Frames #Twin Peaks #Naomi Watts #Laura Harring #Ann Miller #Justin Theroux #Dune #existential #surreal

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cinemavariety · 5 years

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The Director’s Series: David Lynch

The director series will consist of me concentrating on the filmography of all my favorite directors. I will rank each of their films according to my personal taste. I hope this project will provide everyone with quality recommendations and insight into films that they might not have known about.

Today’s director in spotlight is David Lynch

#10 - Dune (1984) Runtime: 2 hr 17 min Aspect Ratio: 2.35 : 1 Film Format: 35mm

In the year 10,191, the world is at war for control of the desert planet Dune – the only place where the time-travel substance ‘Spice’ can be found. But when one leader gives up control, it’s only so he can stage a coup with some unsavory characters.

Verdict: Most directors who make enough films will always have a few misses. Dune is almost unwatchable with its convoluted storyline that will confuse anyone who hasn’t read the novel. I’ll give it this - the set and costume design are out of this world, no pun intended.

#9 - The Straight Story (1999) Runtime: 1 hr 52 min Aspect Ratio: 2.39 : 1 Film Format: 35 mm

A retired farmer and widower in his 70s, Alvin Straight learns one day that his distant brother Lyle has suffered a stroke and may not recover. Alvin is determined to make things right with Lyle while he still can, but his brother lives in Wisconsin, while Alvin is stuck in Iowa with no car and no driver’s license. Then he hits on the idea of making the trip on his old lawnmower, thus beginning a picturesque and at times deeply spiritual odyssey.

Verdict: The only one of Lynch’s films that could be considered purely “heartwarming”. It also feels the least like a Lynch film, with the director never really foraying into his autuerist territory. It is a simple, cute film that didn’t exactly leave much of an impression on me.

#8 - Lost Highway (1997) Runtime: 2 hr 14 min Aspect Ratio: 2.35 : 1 Film Format: 35mm

A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgangers, and an impossible transformation inside a prison cell.

Verdict: Lost Highway has a few scenes that I find to be the most bone-chilling in Lynch’s oeuvre. However, I wish that the entirety of this film had the same effect on me. There are more than enough satisfying plot elements to this, but I also feel like Lynch utilizing a modern soundtrack more than Badalementi’s superb score really does make this film feel dated.

#7 - The Elephant Man (1980) Runtime: 2 hr 4 min Aspect Ratio: 2.35 : 1 Film Format: 35mm

A Victorian surgeon rescues a heavily disfigured man being mistreated by his “owner” as a side-show freak. Behind his monstrous façade, there is revealed a person of great intelligence and sensitivity. Based on the true story of Joseph Merrick, a severely deformed man in 19th century London.

Verdict: The Elephant Man showcases how cruel human nature can be. It is one of Lynch’s most sentimental works that manages to be both horrendous and beautiful. John Hurt’s performance as the “elephant man” is multilayered and one of the most impressive, humanistic feats of an artist embodying a character with the utmost ingenuity.

#6 - Blue Velvet (1986) Runtime: 2 hr Aspect Ratio: 2.35 : 1 Film Format: 35mm

The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of criminals who have kidnapped her child.

Verdict: This is Lynch’s detective film, and I would say one of the best starting films for someone looking to get into his work. It has all of the surrealist plot motifs we come to expect from Lynch, but also has a pretty understandable storyline for the most part. Blue Velvet explores the dark underbelly beneath the fake “harmless” veneer of a seemingly quiet and peaceful small town.

#5 - Wild at Heart (1990) Runtime: 2 hr 5 min Aspect Ratio: 2.35 : 1 Film Format: 35mm

Young lovers Sailor and Lula run from the variety of weirdos that Lula’s mom has hired to kill Sailor.

Verdict: Many might not see Wild at Heart as one of Lynch’s strongest works, but I personally find it to be the most fun film he has ever made. Lynch creates such a wide variety of scummy characters that truly make your stomach church (I am looking at you Willem Dafoe). It’s one of those so-bad-it’s-perfect movies and the Wizard of Oz allusions are a great addition to the story.

#4 - Twin Peaks: Fire Walk With Me (1992) Runtime: 2 hr 14 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

In the questionable town of Deer Meadow, Washington, FBI Agent Desmond inexplicably disappears while hunting for the man who murdered a teen girl. The killer is never apprehended, and, after experiencing dark visions and supernatural encounters, Agent Dale Cooper chillingly predicts that the culprit will claim another life. Meanwhile, in the more cozy town of Twin Peaks, hedonistic beauty Laura Palmer hangs with lowlifes and seems destined for a grisly fate. Verdict: I think it’s a real shame that this film was held in such low regard by both critics and fans alike when it was released. These people seemed to be truly confused as to the types of films Lynch makes. Thankfully, it has developed into a real cult classic since then. This film, which also serves as a prequel to the iconic television series, abandons the campy tone of the series and is Lynch achieving the vision that he wanted from the show. It’s a beautiful, haunting, and heartbreaking story.

#3 - Inland Empire (2006) Runtime: 3 hr Aspect Ratio: 1.85 : 1 Film Format: Mini DV & 35mm

An actress’s perception of reality becomes increasingly distorted as she finds herself falling for her co-star in a remake of an unfinished Polish production that was supposedly cursed.

Verdict: Lynch has yet to make a feature film since this one, and it truly is the director going off the rails with his style in the best of ways. Inland Empire is almost completely impossible to describe because it is more of an experience than it is a structured narrative. It returns to Lynch’s often-used idea of “hollywood is hell”. To me, this is Lynch’s scariest film. It’s utterly hopeless and the pixelated DV cinematography exudes a very cold and artificial aesthetic. Laura Dern deserved an Oscar for her performance as an actress who confuses her own life to the character she is playing.

#2 - Mulholland Drive (2001) Runtime: 2 hr 27 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

Blonde Betty Elms has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia. Meanwhile, as the two set off to solve the second woman’s identity, filmmaker Adam Kesher runs into ominous trouble while casting his latest project.

Verdict: You will very rarely find such a perfect masterpiece of a film, but Mulholland Drive manages to do that. It also seems to reveal new layers every time I revisit. Lynch blurs the lines between the dream world and reality so masterfully in this film that it really does linger in your subconscious afterward - much akin to a haunting dream that you can’t seem to shake. Naomi Watts is electric as an LA newcomer who gets involved in the dark recesses of Hollywood.

#1 - Eraserhead (1977) Duration: 1 hr 29 min Aspect Ratio: 1.85 : 1 Film Format: 35mm

Henry Spencer tries to survive his industrial environment, his angry girlfriend, and the unbearable screams of his newly born mutant child.

Verdict: By no means am I trying to say Eraserhead is Lynch’s “best” film - but for me it will probably always remain my personal favorite. This was my introduction to Lynch’s work and it holds a very sentimental spot for me as this was the time in my life when I really began exploring experimental film. Eraserhead is set in a dystopia that could also serve as an alternate reality altogether. Henry Spencer has to deal with his demanding wife and deformed child while daydreaming of a singing woman in the radiator. This is Lynch at his most surrealist, his most uncompromising, and his most nauseating. It truly is one the most impressive low-budget films ever made. It manages a fine line between repulsion and transcendence.

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paulinedorchester · 8 months

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The High Holy Days, 1944: Meanwhile, back in the U.K., there's still a need to provide for “uninvited guests” of various sorts

To begin with, not all evacuees had returned to their homes; indeed, v-weapon attacks had led to a new round of evacuations from London and the South and East Coasts. They needed community and hospitality, as a letter in the September 8th Jewish Chronicle noted:

The improvised "membership groups" that had been organized in places with large-ish numbers of evacuated Jewish households remained active:

(Above, top to bottom, from the Walsall Observer, September 16th; the Welsh Gazette, September 21st; the Bedfordshire Times & Standard, September 22nd; and the Biggleswade Chronicle, September 22nd. These four images and the final image in this post are ©The British Library Board. All Rights Reserved.)

As noted in the last two items above, there were still some Allied service personnel in Britain, no doubt feeling restless, restive, or both. Two additional letters in The Jewish Chronicle, published as early as August 25th (top), and another on September 8th, appealed for support on their behalf:

The hospitality provided did not go unacknowledged (even if it sometimes took a while for this to happen 🙄). This is from The Jewish Chronicle's December 15th issue:

Major Max Jonah Routtenberg (1909-1987) was born in Montreal, P.Q., Canada, and came to the U.S. in 1927. He graduated from New York University before studying for the rabbinate at the Jewish Theological Seminary (telling us that he was Conservative). He served Kesher Zion Synagogue in Reading, Pennsylvania, prior to his induction in late 1942. I am unclear as to when he left the Army, but he returned to Kesher Zion until 1948, when he began filling a series of posts in Conservative Judaism's administrative structure. He returned to the pulpit in 1954, serving Temple B'nai Sholom, Rockville Center, N.Y., until he retired in 1972.

And finally, both Jewish and local history was still being made in at least a few places, as the Bury Free Press recorded on September 30th:

#world war ii #u.k. home front #jewish experience #high holy days 5705 #high holy days 5784 #long post

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quakerjoe · 4 years

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Holding U.S. flags and marching in orderly formation as they shouted "Reclaim America!" the 100 or so white nationalists who demonstrated in D.C. last Saturday wore matching hats, pants, jackets — and white face masks.

And it was that last sartorial choice that attracted attention on social media, where some people asked why the group — Patriot Front, an organization promoting "American Fascism" and deemed a hate group by the Southern Poverty Law Center — was able to get away with what seemed like a violation of D.C. law.

It's currently illegal in the city to wear a mask under a number of circumstances, notably to avoid identification while engaging in illegal activities. But the law, which dates back to 1982, also says mask-wearing is prohibited if the wearer intends to intimidate or threaten another person, or if they try to deprive someone of other rights guaranteed by law. Virginia has a similar law on the books, which was tested last month, when a single person was arrested during a large pro-gun demonstration in Richmond.

Still, there were no arrests at Saturday's white nationalist demonstration, which was escorted by a contingent of D.C. police officers. And that could largely be because many anti-mask laws rest on shaky legal foundations, often testing the careful balancing act between public safety and the First Amendment. Is a mask a means to threaten someone, or simply a tool to protect someone's identity when they have an unpopular opinion?

It isn't an easy question to answer, says Doron Ezickson, vice president for the Mid-Atlantic and Midwest with the Anti-Defamation League.

"The D.C. law hinges on intent, whether the person wearing the hood or mask is intended to cause another person to fear for his or her personal safety. That element of intent is very important from a constitutional standpoint," he says.

When the D.C. Council passed the law almost four decades ago, it did so specifically because of a reported uptick in Ku Klux Klan activity in the Maryland and Virginia suburbs around D.C., and a rise in incidents in the city itself. (The law also criminalized defacing public and private property with racist messages or images.)

"In April of 1982 both the Ohev Shalom Synagogue and the 19th Street Baptist Church were defaced with anti-Semitic graffiti, and during the same month a swastika was painted on Kesher Israel Synagogue," explained a Council report on the bill. "More recently many of the public refuse receptacles in the District of Columbia have been seen with the word 'nigger' painted on them."

Virginia's anti-mask law has similar foundations.

But D.C. Council member Mary Cheh (D-Ward 3), who also is a constitutional law professor, says that what the KKK was known for doing differs from the activities of groups like Patriot Front today. While they may spring from the same general ideology, the means of expressing it have so far been different.

"[The KKK] would go to African American homes and businesses and intimidate them. It was a threat of force put out there," she says.

While the legal landscape on anti-mask laws is mixed — some courts have ruled they can be used to stop racists protests, others have said the opposite — there is one Supreme Court ruling that Cheh says roughly lays out the guidelines for when laws can determine someone is being intimidated or threatened.

In the 2003 Virginia v. Black ruling, the court tossed out convictions against three defendants for violating the Virginia law criminalizing cross-burning. Writing for the majority, Justice Sandra Day O'Connor said that while some cross-burnings can be used to personally intimidate or threaten individuals, they can also more generically be used as "a statement of ideology" or "group solidarity." In those cases, cross-burning remains constitutionally protected.

That could broadly apply to mask-wearing, says Art Spitzer, the legal director for the ACLU of D.C. The Patriot Front march may have been offensive, but it wasn't intimidating or threatening in a specific way. "You can't threaten someone by expressing a view in a peaceful way," he says.

Had the group marched to a particular person's house or business the way the KKK used to, that could have run afoul of D.C.'s anti-mask law. But even in those circumstances, it matters less what is being said, and more how it's being said.

"If they just stood there or hold a sign saying 'White people are equal,' that would not be intimidating. If they were chanting some threatening phrase or holding signs with a threatening or intimidating phrase, then that could well cross the line," says Spitzer.

That distinction — protesting in a public place versus protesting at a specific person's home — did serve as the foundation for a law authored by Cheh and passed by the Council in 2010. It largely prohibits masked protests outside personal residences between the hours of 10 p.m. and 7 a.m., with only narrow exceptions if police are given advance notice. The law was inspired by complaints about animal rights activists, some masked, others not, loudly protesting in residential areas.

"The Supreme Court has said that jurisdictions can ban targeted picketing like that," says Cheh. "This was just an additional lever with respect to those particular demonstrations."

Cheh says that, to her knowledge, that new law hasn't yet been tested or challenged. As for the original anti-mask law, D.C. court records show that there have been fewer than three-dozen charges brought for mask-wearing over the last decade. And in many cases, the charge accompanied another criminal offense.

In Virginia, the longstanding anti-mask was amended in 2014 to reference intent, specifically. The changes were prompted by a case which critics said proves how anti-mask laws can go too far: a cyclist was stopped by police on a winter day for riding with a mask, which was technically against the law. The inclusion of intent in the anti-mask law also likely explains why police did not arrest any of the gun-toting and mask-wearing protesters in Richmond last month. (The sole arrest was not apparently linked to the pro-gun groups; the 21-year-old woman arrested faces a court date on Wednesday.)

Cheh says that from what she saw, the masked Patriot Front march didn't rise to that level of personal threats or intimidation, even if the group's members say they do want to "reclaim our nation's capital from Jews, Marxists, and anti-white enemies in government who want to see white Americans erased," as one leader told WUSA 9 reporter Mike Valerio in a written statement. "We seek to build a fascist homeland in the ashes of a failing democracy."

"I had understood that those white nationalists were marching, and even though they were saying awful things, the police were accompanying them. If they were wearing the masks to intimidate people, then the mask laws could apply," she says. "I think the police behaved with appropriate restraint."

Ezickson of the ADL says that balancing free speech rights and hateful speech can be difficult, especially for groups that are the targets of the speech. But he does draw a distinction — for now — between what Patriot Front members were doing in D.C. and what could at some point be illegal.

"It's an ideology of hate and unfortunately some of its members commit violence of ever more substantial impact. The speech is connected to conduct, but we have to understand that constitutionally speech is protected while the conduct is not," he says.

And Spitzer notes that lightly enforcing D.C.'s anti-mask law benefits groups from both sides of the political spectrum. During President Trump's inauguration, he says, many anarchist protesters wore masks. While there were arrests, those were largely for allegations of other offenses, like destroying property. (The prosecutions ultimately fell apart.)

"It's a messy world out there, and sometimes we have to suffer the outrages of people expressing views we detest," says Cheh.

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yhwhrulz · 2 years

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This month we’re going to learn Hebrew words and phrases relating to MLK. Today’s word is "Historical bond".

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dfroza · 3 years

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Today’s reading points to the True and eternal High Priest

who sets free from the curse of sin and death for all who come to “believe…”

Today’s reading of the Scriptures from the New Testament is the 5th chapter of the book of Hebrews:

Remember what I said earlier about the role of the high priest, even the ones chosen by human beings? The job of every high priest is reconciliation: approaching God on behalf of others and offering Him gifts and sacrifices to repair the damage caused by our sins against God and each other. The high priest should have compassion for those who are ignorant of the faith and those who fall out of the faith because he also has wrestled with human weakness, and so the priest must offer sacrifices both for his sins and for those of the people. The office of high priest and the honor that goes along with it isn’t one that someone just takes. One must be set aside, called by God, just as God called Aaron, the brother of Moses.

In the same way, the Anointed One, our Liberating King, didn’t call Himself but was appointed to His priestly office by God, who said to Him,

You are My Son.

Today I have become Your Father,

and who also says elsewhere,

You are a priest forever—

in the honored order of Melchizedek.

When Jesus was on the earth, a man of flesh and blood, He offered up prayers and pleas, groans and tears to the One who could save Him from death. He was heard because He approached God with reverence. Although He was a Son, Jesus learned obedience through the things He suffered. And once He was perfected through that suffering He became the way of eternal salvation for all those who hear and follow Him, for God appointed Him to be a High Priest in the order of Melchizedek.

I have a lot more to say about this, but it may be hard for you to follow since you’ve become dull in your understanding. By this time, you ought to be teachers yourselves, yet I feel like you want me to reteach you the most basic things that God wants you to know. It’s almost like you’re a baby again, coddled at your mother’s breast, nursing, not ready for solid food. No one who lives on milk alone can know the ins and outs of what it means to be righteous and pursue justice; that’s because he is only a baby. But solid food is for those who have come of age, for those who have learned through practice to distinguish good from evil.

The Book of Hebrews, Chapter 5 (The Voice)

Today’s paired chapter of the Testaments is the 45th chapter of the book of Jeremiah with a short message given to Baruch:

This is the message the prophet Jeremiah gave to his secretary, Baruch (son of Neriah) when he had written on a scroll all the words Jeremiah dictated to him. It took place when Jehoiakim (son of Josiah) had been king of Judah for four years.

Jeremiah (to Baruch): The Eternal, the God of Israel, has given me a message for you, Baruch. He heard you when you cried out, “Oh my, what pain I am in! As if I weren’t hurting enough, the Eternal has piled on even more sorrow. I am so tired from groaning; I can find no rest.” And so the Eternal has given me this message for you: “Hear Me, Baruch, for I tell you I am about to upend what I have built and uproot what I have planted in this land, in the whole land. Should you worry about achieving personal greatness? No, do not chase after such a dream! But take comfort that when I bring this disaster on all people, I will reward you by sparing your life. I promise to protect you wherever you go.

The Book of Jeremiah, Chapter 45 (The Voice)

A link to my personal reading of the Scriptures for monday, September 27 of 2021 with a paired chapter from each Testament of the Bible along with Today’s Proverbs and Psalms

A post by John Parsons about the nature of a lie:

In the Torah we read, "Keep yourselves away from a false matter" (Exod. 23:7). In this connection note that the Hebrew word for falsehood (or lie) is sheker (שֶׁקֶר), which can be rearranged to spell kesher (קֶשֶׁר), meaning a band, gang, or group of people... The power of the lie is often found in the "group" rather than in the individual, and if enough people in a group repeat something untrue, eventually the individual's conscience will be overruled and the truth will be lost... This is a common methodology regularly employed by mass media for purposes of political propaganda. We see it today in the tyranny of the false.

Regarding this commandment to keep clear of a false matter, Abraham Twerski comments that it means we should act in a way that will not move us to “hide,” and that includes hiding within the anonymity of the crowd. “Think about what you are about to do. Is there a possibility that you may at some time have to deny that you did it? If so, then do not do it.”

Each of us must individually strive to be yashar (יָשָׁר) - upright and honest, and free from the complications and devious speech that attends to lies. We are to be "simple" (תָּמִים) with the LORD our God (Deut. 18:13), which requires that we are first willing to be rigorously honest with ourselves. A favorite quote of mine: "No person is saved except by grace; but there is one sin that makes grace impossible, and that is dishonesty; and there is one thing God must forever and unconditionally require, and that is honesty" (Kierkegaard). Take every thought captive to the truth of Messiah, chaverim. [Hebrew for Christians]

and another about being “strangers” in this temporal world:

Among other things, the holiday of Sukkot reminds us that God's people are "strangers" in this world; they are literally estranged and live as "resident aliens" -- here, yet not here.... We wander; we are lonely; we yearn for our heavenly home. Life in this world is “olam ha’sheker,” the false world -- full of deception, troubles, and struggle. Thus Abraham said to the sons of Chet: "I am a 'stranger and sojourner' (גֵּר־וְתוֹשָׁב) among you; sell me a burial site..." (Gen. 23:4), and likewise David confessed: "For we are strangers with You, mere transients like our fathers; our days on earth are like a shadow without abiding (1 Chron. 29:15).

Faith affirms that underlying the surface appearance of life is a deeper reality that is ultimately real and abiding. It "sees what is invisible" (2 Cor. 4:18) and understands that the "present form of this world is passing away" (1 Cor. 7:31). The life of faith therefore calls us to live as toshavim - sojourners - who are at an infinite "distance" from the world of appearances and who seek the Eternal. Sukkot means we ache with a divine "homesickness" as we look forward to our real home in heaven (Heb. 11:9-10). "O You who are at home deep within my heart, enable me to join you deep in my heart." [Hebrew for Christians]

9.27.21 • Facebook

Today’s message (Days of Praise) from the Institute for Creation Research

September 27, 2021

The New Creation

“For in Christ Jesus neither circumcision availeth any thing, nor uncircumcision, but a new creature.” (Galatians 6:15)

In the original Greek text of the New Testament, the word translated “creature” is the same as “creation,” so Paul, in our text, is stressing the vital importance of being a “new creation” in Christ. The Lord Jesus Christ is nothing less than the mighty Creator of heaven and Earth (Colossians 1:16), and the very same creative power that called the universe into existence must be exerted on each lost sinner to create in him a new nature, capable of having the eternal fellowship with God for which man and woman were created in the beginning.

This new creation is not only for the purpose of saving their souls, but also for transforming their lives. “Therefore if any man be in Christ, he is a new creature: old things are passed away; behold, all things are become new” (2 Corinthians 5:17). Although good works can never bring salvation, salvation must inevitably bring good works, for we are thereby “created in Christ Jesus unto good works, which God hath before ordained that we should walk in them” (Ephesians 2:10). Paul exhorts us to continually “put on the new man, which after God is created in righteousness and true holiness” (Ephesians 4:24).

Adam and Eve were originally created “in the image of God” (Genesis 1:27), but that image has been grievously damaged by unbelief and overt sin. Although still resident in man—in fact, distinguishing him from the animals—this divine image must be renewed through saving faith in our Creator/Redeemer, Jesus Christ. Therefore, the Scripture reminds all true believers that they “have put off the old man with his deeds; And have put on the new man, which is renewed in knowledge after the image of him that created him” (Colossians 3:9-10). HMM

A tweet by illumiNations that points to the significance of Bible translation:

Partner spotlight 💡: Pioneers Bible Translators focuses on unreached and unengaged people groups. Their goal is to both translate God’s Word and plant networks of churches that are using Scriptures to grow, mature, and multiply. Learn more at http://pioneerbible.org.

9.27.21 • 12:03pm • Twitter

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cfijerusalem · 3 years

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WEAPONS OF THE SPIRIT (2 Corinthians 10:3)

“...blessed is the man who fears the Lord...the generation of the upright will be blessed...and his righteousness endures forever” (Psalm 112: 1-3, KJV).

“In Hebrew, “righteousness” is pronounced tzedakah and a righteous person is called a tzadik. The Hebrew root tzadak can also be understood as “justice”, “fairness”, and “equity”. Another related word pronounced tzedek for example, means “right”, “piety”, “straight and proper action”. The actions of the upright, or deeds which are just are called tzedakot in Hebrew” (Hebrew teaching by my friend, Professor and Dr Eli Lizorkin-Eyzenberg). Righteous people tell the truth and stand for justice, mercy, fairness and equity in what we teach others. Making right our wrongs, repairing the damage done for centuries, must be the guiding light to mend the damage done to Jewish people for centuries, by the organized church and even still today. Righteousness must be the force that propels us into the future to seek the truth about our connection (kesher) to the Jewish people. Without righteousness in our hearts, our faith is dead. Let us live for truth and righteousness in our day and age of deception.

*Note: When you are practicing pronouncing the “tz” is like saying with your tongue “ts”.

A totally righteous and holy GOD is trying to get the world’s attention, and He can do it any way He wishes. In Biblical News (July 13, 2021), Adam Eliyahu Berkowitz reported that vines are growing on a retaining wall of the Temple Mount in Jerusalem, which spell out God’s Name, Yehovah. (Deuteronomy 28:10 The Israel Bible).

It has been noticed that the ancient stones host a lot of plant life, including the Thorny Caper, which a religious Israeli woman saw recently and discerned that the plants had grown to form the shapes of letters of the Hebrew alphabet. They appeared to be written in ktav ashuri, the calligraphy style used in writing sacred texts. Three letters were clearly seen: Yud, Heh, Vav. These are the first three letters in God’s name minus the final heh. Clearly, we can see God’s name is being proclaimed in these last days. “Then all the peoples on earth will see that Adonai’s name, his presence, is with you; so that they will be afraid of you” (Deuteronomy 28:10). His name will be visible to the whole earth one day in the future. “This is God’s mercy. It is impossible to see God’s name and not want to repent, to come closer to him. It is difficult to believe, but even today, when we see unprecedented events, wonders and tragedies, there are those who refuse to call out to Him.” (Rabbi Berger). We serve such a loving Father God who has been so patient with His Creation. If it were some of us, I am afraid we would have wiped out mankind by now, but He is Longsuffering and so Righteous. He has given us weapons with which we can fight “in the spirit” and bring down strongholds that are in the earth today; thereby, glorifying His Name on earth. Not weapons of confrontation and communication that are normally utilized by others; rather, they are the “war equipment God provides” (Ephesians 6:13, CJB).

Let Us Enter the Presence of God in Prayer for Israel

Beseech the Lord that we can demolish arguments that raise themselves up against the God of Israel through prayer and intercession and cause man to take thoughts captive. “...for the weapons of our warfare are not of the flesh, but mighty before God to the casting down of strongholds...” (2 Corinthians 10:4 ASV).

Rejoice with His People that Israel’s Prime Minister acknowledged publically that the Bible binds people to Israel with shared values based on the Hebrew Scriptures. “Righteousness exalts a nation, but sin is a reproach to any people” (Proverbs 14:34 ESV).

Thank God that Iran’s atomic clock counting down Israel’s doom stopped working, crippling its power and causing a shortage of electricity. “For I have heard the slander of many; terror is on every side! While they schemed together against me, they plotted to take my life” (Psalm 31:13 AMPC). The more nations like Iran plot against the Lord’s Chosen People, the more failures they are going to encounter. Pray they will bless and not curse. Nothing is impossible with God.

Proclaim Him King as more and more Biblical evidence of God’s truth from the Bible, and that of Israel in the Land of the Bible is being discovered in Jerusalem and across the country. A Second Temple building was found recently at the Western wall. The Bible just continues to surface everywhere. Praise God. “Don’t keep the prophecies in this book a secret. These things will happen soon” (Revelations 22:10 CEV).

Pray fervently for new livestock of sheep (half a million animals) who, since January, have been delivered to Israel. They were found on a cargo ship living in horrid conditions, causing them great suffering. These sheep are now thriving and living well in the Promised Land. “Whoever is righteous has regard for the life of his beast, but the mercy of the wicked is cruel” (Proverbs 12:10 ESV).

Proclaim together that the precious orchards of God around the Jewish town of Esh Kodesh, which recently suffered massive damage because of anti-Israel Arab harassment, will grow back quickly and that they will be bountiful and fruitful for the people and all to come and see. The orchards will burst into bloom; the people will rejoice greatly and shout for joy. “The glory of Lebanon will be given to it, the splendor of Carmel and Sharon; they will see the glory of the LORD, the splendor of our God” (Isaiah 35:2 CEB).

Thank God that Israel asked Lebanon if they could help their people; however, so far, the people have refused (most likely because of fear.) Please pray that Israel will find a way to help. Pray for antisemitism to be defeated among the nations and in our churches. “Remember, Lord, the reproach of thy servants; how I do bear in my bosom the reproach of all the mighty people...” (Psalm 89:50 KJV).

Praise God that He is the Defender of Israel against all nations that want her demise. (Psalm 10:16; Ecclesiastes 7:19, Psalm 91:10; Psalm 83:2-4).

Ask God to cause a spirit of unity to come upon Israel – disunity was a primary cause of the destruction of the Temple during ancient times. Pray for accord, agreement and togetherness to fall upon all the leaders of the country. (Psalm 133:1; Ephesians 4:3).

Praise God for brave and courageous Palestinians who stand up for Israel and share the truth about Israel with their people. “How blessed are those who reject the advice of the wicked...” (Psalm 1:1 CJB).

Ask God to continue doing miracles in Iran. He is revealing Himself and Jesus to many Muslims. As Iranian Ayatollahs continue their wicked plans toward the demise of Israel, they need to see “who” the God of Israel is and turn from evil before it is too late. “The earth’s kings are taking positions, leaders conspiring together...” (Psalm 2:2 CJB). They are prideful but will end in despair. They will be broken as clay pots. God is the Divine Shield for Israel!

We must also pray that an awakening of truth will come (Psalm 91:14) and that any delusion (2 Thessalonians 2:11) will be eradicated for the good of the people. We thank God that the prophetic words come to pass every day in this Land (Psalm 89:34-37) and that righteousness will flow through our streets and into the entire world. Thank God He has not forgotten His People. He is with them, and He will turn them to Him at the right time. Let us all not give up. Let us pray God’s Promises into being until they are all fulfilled, every jot and title. Being men and women of God, we believe God and have faith in Him to do just as He promised He would for His Chosen People. We stand alongside them, and He stands alongside of us in the battle for truth and righteousness.

In His Service Together,

Sharon Sanders

Christian Friends of Israel - Jerusalem

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