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#muriel box
davidhudson · 8 months
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Muriel Box, September 22, 1905 – May 18, 1991.
Directing Peggy Cummins in Street Corner (1953).
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gatutor · 5 months
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Audrey Dalton-Leslie Phillips "This other eden" 1959, de Muriel Box.
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karingottschalk · 1 year
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The Observer: Who was Muriel Box, Britain’s most prolific female film director? – Commentary
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Modern Screen, August 1954
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silentlondon · 11 months
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Silent Cinema Rediscovered: Salomé, Together and more in Bristol
Buongiorno! This sultry summer weather is doing its best to convince me that I am still in Bologna when I am closer to Bognor. But there is a cure for the post-Ritrovato comedown in the offing – and this medicine will be available out west, in Bristol, at the end of the month. This year’s Cinema Rediscovered festival (26-30 July) has released its full lineup, and it is a many-splendoured jewel…
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thebestestwinner · 1 year
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Top two vote-getters will move on to the next round. See pinned post for all groups!
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letterboxd-loggd · 2 years
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Eyewitness (1956) Muriel Box
August 14th 2022
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oldfilmsflicker · 1 year
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careful-fear · 10 months
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in desperate need of relationships that blur the line between romantic and platonic and are fundamentally neither. they don't conform, they have no label, they are whatever they deem themselves to be, and that's important.
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arcanarubinaito · 7 months
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What are your thoughts on how an extroverted, confident, energetic MC would be with Muriel as an LI? (🪶)
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Thank you for the ask, Feather Anon! I’ve been itching to do some creative writing outside of my story, so I hope you don’t mind that I’m writing this more like a short story/narrative style post.
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Summary:
You command the room when you walk in, and everyone takes notice. He loves that about you; being riddled with constant social anxiety himself, it’s nothing short of a relief for Muriel to see that you don’t have to deal with it yourself. (Besides, it doesn’t hurt that it takes the attention off of him.)
He’s just worried that you’ll feel isolated and alone if you move in with him.
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It’s exactly a month after the defeat of Lucio and The Devil, and everyone had gathered to celebrate together in the Rowdy Raven. He tries to stick to a corner in the back, but he is far too large and conspicuous to avoid the attention for long. Some people stare, others are braver and approach him to exchange a few words and express thanks. Muriel wants nothing more than to melt into a puddle. He appreciates not being looked at like he was still the Scourge, thankful that people weren’t afraid of him anymore. But the only reason he was here was to see you. You had been busy helping with repairs in the city while Muriel helped those still lingering in the camp outside his home, and hadn’t had much time to really talk or interact for the past week.
“You all didn’t start without me now, did you?” Your voice rings out as you stride in, and Muriel slumps back against the wall with relief. He watches some of the crowd clamor to get your attention as Julian passes you a beer stein, giving him room to breathe.
You look a little tired, he notices, but your face is practically glowing. Your eyes meet across the room and you light up even further, drawing a slight smile from Muriel’s otherwise stoic expression. He loves your smile. Immediately you chug your drink and begin pushing through the crowd, exchanging short words with a few other people before you finally reach him. He doesn’t even have the time to say ‘hello’ before you throw your arms around him in a tight hug that he quickly returns.
“God, I missed you so much.” You groan, tilting your head back to look up at him. Muriel lifts his hand, cradling your face gently in his large palm as he dips down to kiss your forehead—silently telling you he missed you just as much. “I didn’t have any time to visit this week and it was killing me, actually.” You stretch up on your toes and loop your arms around his neck, filling him in on all the little things he’d missed. Stuffy nobles complaining that they weren’t getting their homes repaired sooner, and Nadia putting them in their place. Helping Portia and the other kitchen staff with preparing food for all the displaced citizens. Julian and Asra, busy with healing and helping reunite separated families and friends.
He listens to you ramble on with a soft smile, and follows as you take his arm and lead him to the bar. “—but now I think I’ll have a lot of down time, which means I can spend more time with you.” Muriel’s smile widens a little more at that, and he can feel his face warm up when you shoot him a wink. Yeah, he knows what that means all too well. “Hey Lavinia, let’s get a round of black mead for everyone!” You call across the bar, knocking your hand against the wood loudly. “And put it on Jules’ tab!”
“Wait what—?”
A short laugh breaks past Muriel’s lips at Julian’s indignant squawk, and he catches a shit-eating grin plastered over your face as you settle onto one of the stools. Two mugs of the dark liquor slide across the bar towards you both, Muriel putting his hand out to gently stop them before they fall off and passing one to you. “What did he do to deserve that?” He asks, amused. You hide your smirk with your mug.
“Nothing.” You rest your chin in one hand. “I’ll pay it off myself, his reaction is just funny.”
“That’s a little mean.”
“It is a little mean, yeah.” You laugh, eyes glittering with mirth. The firelight reflects like spots of amber in your eyes, and he’s reminded of that first night. Your worried face and gentle hands cast in the soft glow of the fireplace, and the begrudging step he had taken to trust you just a little. The best decision he’s ever made, really. Muriel reaches forward to brush some stray hairs out of your eyes without thinking.
A few ‘awww’s scattered from the crowd made him flinch and quickly withdraw, his face hot with embarrassment. Muriel hides his burning face with a quick swig from the wooden mug in his hand and turns his back to the crowd quickly. He had been so swept up in the moment that he forgot you both weren’t alone, and many pairs of eyes were on you at any given moment.
Your hand touches the side of his face lightly, reassuring and gentle. Grounding him for a little longer and soothing that surge of anxiety and embarrassment. His eyes flicker in your direction again briefly before he roots his stare on the mug in his hands again. “You want to head back early?” You suggest softly. Muriel lowers his mug. He wants to say yes; he’s by far had his fill of socializing today and just wants to wind down somewhere quiet and familiar. But he hesitates. You only just got here, and he knows how much you enjoy these gatherings. You thrive off of social interactions, would it be selfish for him to ask you to leave so soon?
“We don’t have to.” Muriel finally says, begrudgingly, forcing himself to look back up at you. He can stick it out a little while longer for your sake, just as you’ve done for him before. It’s loud and crowded and his anxiety is already going haywire, and god his head is starting to hurt too. But he can suck it up.
“I really don’t mind going home if you need to.” You reply. He watches your eyes drift past him, your hand waving off someone behind him quickly before your gaze returns to meet his. “I know this isn’t exactly where you’re most comfortable.” That was an understatement if Muriel had ever heard one.
Wait. Go back. Did you say ‘home?’
Gently, you pull him away from the bar, guiding him through the swirling crowd towards the back door. He reaches out to push it open for you, his fingertips lingering on the wood for only a moment before you whisk him down the alleyway to a more secluded spot, away from prying eyes. His eyes widen a little, and he lifts his hand to curl it over the one you cup his cheek with. “You said ‘home.’” Muriel breathes out. Your face softens a little, a smile creeping up on your lips.
You’ve hidden yourselves among some crates stacked up between the buildings, a nearby street lamp casting your faces into wild shadows. “Yeah, I did.” You confirm, moving your hand so that your fingers are twined together now. You dip your head down, kissing the tops of his knuckles with a sweet brush of your lips that sends a jolt of electricity through Muriel’s body. “I’d like to move in with you—if you want, I mean.” You add on quickly.
Muriel’s heart hammers in his chest. “What about the shop?” He asks, his voice a little more breathless than he would’ve liked.
“The shop is a little bit crowded these days—” Right, Julian had moved in. Muriel tries (and fails) to resist the urge to make a face at the thought of the doctor living with Asra. “—and I’m not exactly selling anything right now either.” You continue, tilting your head to the side just a little. “And it’s so far from your place.”
“My place is also far from everything else.” He points out quietly. Muriel wants nothing more than for you to move in with him, to make that little hut feel more like a little home. But would it be too far from Vesuvia, and all your friends? Would you be happy, or would you start to feel isolated and alone?
“I know.” You guide him out of his thoughts with a soft voice and a gentle squeeze of his hand. “And I’m okay with that.” He searches your gaze, finding only love and warmth, and that gleam of pure conviction he knows so well. His shoulders relax just a little bit and his thumb rubs along the back of your hand idly while he listens. “It isn’t really all that long of a walk to get to the city. It just feels… It just feels too far from you.” You smile up at him and he practically melts, lips twitching up into a faint smile.
“I want you to be happy.” Muriel confesses softly. He brings his other hand up to envelope yours in his large and calloused palm.
“And I’m happy whenever I’m with you.” You stretch up on your toes, and he leans down just a little to meet you halfway, stealing a soft and sweet kiss—thankfully, without anyone around to see. Muriel sneaks a glance around just to double check before he wraps his arms around you and pulls you in closer, one steady hand at your waist and the fingers of his other twined gently through your hair. He can feel your hands rest against his chest for a moment before you reach up to hold his face in your ever-gentle hands.
He pulls away just slightly, your warm breath mingling with his against the cool night air. “I love you.” Muriel murmurs, and the corners of his eyes crinkle with a smile. He moves his hand to brush an errant lock of hair out of your eyes, studying them. Muriel wasn’t one for eye contact, but it was so easy for him to get lost in your eyes. They always reflected the light so beautifully, and tonight was no exception; the light of the street lamp mingled with the moonlight, casting your eyes in a contrast of gold and silver.
“I love you too.” You murmur. Your thumb lightly brushes along his cheek and traces along his scar tenderly, sending a soft shiver down his spine. Muriel shifts, his lips meeting the spot just between your eyebrows before he pulls away, his hands resting on your waist. You tilt your head back a little to look up at him, letting your hands settle back on his shoulders before sliding them down his arms and resting them against his biceps, just above his elbows.
“… yeah. I think I’d like to go home now.” He murmurs, finally answering your question from before. Your smile widens a little and you take hold of his hand as you both finally pull away from where you were hidden and start to walk down the street.
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hellothereiplaygames · 8 months
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Some thoughts on Asra's route...
Replaying Asra's route after having played Muriel's really hits different...
In one of the other routes Asra and Muriel appear to start a romantic relationship, and in Asra's route it's very clear that Muriel cares very deeply for Asra and dislikes the Apprentice. He mentions in one of the paid? dream scenes that he's worried about Asra and the Apprentice fading into their own world and leaving everyone else behind (again, apparently), and that he's determined to stop this from happening. His concern for Asra and initial hostility toward the Apprentice may be rooted in jealousy, not only because his oldest (and only) friend was more or less taken from him, but perhaps with romantic connotations as well.
In Book XI: Justice, Asra and Julian stage a mock trial by combat against Muriel. Though he apparently agreed to participate and is implied to have returned to the Coliseum of his own volition, presumably out of concern for Asra, who has been accused of being Julian's accomplice... he is still more or less backed into a corner and forced to play along with Asra and Julian's plan to stage a fight.
Now, to be fair to Asra, he states after everything goes wrong that it wasn't supposed to end this way, and it appeared that he was attempting to not only exonerate himself and Julian from their charges but somehow help Muriel overcome his past (he does disintegrate Muriel's chains during the fight no matter what choices you make). There was a point during this that I thought I could guess what Asra's plan was regarding Muriel's past, but being refreshed on how it actually pans out, I can't remember it now. Something about making the people of Vesuvia realize how barbaric the Coliseum was under Lucio.
The thing that stands out to me throughout this whole ordeal is that Asra knows about Muriel's trauma. He knows he was enslaved to Lucio and forced to fight and execute people in the Coliseum. He knows that Muriel is terrified of hurting other people, especially those he cares about. In Asra's route, the only person Muriel cares about is Asra, so hurting him is triggering for him. He literally is in a stupor after the board he was using as a weapon splinters off and hits Asra in the mouth, making him bleed. This is clearly meant to make the reader worried about Asra, but Muriel reacts as well, and appears hypnotized by the blood. I remember the first time I read this I thought he was going to have some crazy berserker-Hulk sort of reaction, but having read his route, it's way more tragic.
Though Muriel did seem to return to the Coliseum of his own volition, it does seem that Asra took this as a sign that he was coming to terms with his trauma. He was willing to exploit Muriel's care for him in order to save his own skin so he can be with the Apprentice. Though I recognize Asra's other toxic traits to some degree, I also have similar ones myself so they don't really stand out to me. This, however, where he more or less disregards Muriel's feelings on the matter, is actually really crushing. In Muriel's route, his whole thing is that he DOES NOT want to fight, he DOES NOT want to even spar with the Apprentice with blunt sticks out of fear of hurting them, so why would he willingly go along with this unless he was more or less in the same position Lucio put him in? Fight in the arena, or something bad will happen to Asra.
Asra knows this, and puts him through it regardless. During the whole fight, Julian's actions are written so as to make it seem like he's the one messing things up--he takes the "finishing blow" that Muriel was going to deal to Asra and gets knocked unconscious. Asra spends most of the entire time doing flashy, dramatic magic tricks that get the crowd cheering for him. After he "wins", he and the Apprentice are carried out of the Coliseum like heroes. Though Asra will try to soothe Muriel if the Apprentice so chooses right before the end, and he does look for Muriel in the crowd, he seems otherwise unbothered or unaware of the impact this may be having on his oldest friend. Which is pretty shitty.
Of course, Asra, Julian, and Muriel are all playing characters during their fight--Asra is the flashy magician, Julian is the rogueish BDSM dagger guy, and Muriel is the Scourge. Asra obviously can't show his concern even if he wanted to because he's supposed to be fighting Muriel. But putting his bro into this situation in the first place says a lot about his character. Though Julian is the one whose route is based around self-loathing because he believes he hurts everyone around him, Asra is the only one who gets what he wants out of this ordeal, and he even says so right before the chapter ends. Muriel was forced to relive his trauma and didn't get the resolution that was intended, and Julian gets KOed by a punch that literally sent him flying across the arena (though he probably enjoyed it tbh, he's a nasty little man like that lmao).
I wonder if this dynamic between Asra and Muriel was intentionally written this way in order to further amplify his tunnel vision when it comes to the Apprentice. Is this is how he acted in the past, causing Muriel to hate the Apprentice as he does and remark that he won't allow it to happen again? Maybe (probably) I'm reading too much into it, but as a survivor of abuse and trauma it rubs me the wrong way much more than Asra's obsessive, clingy nature. Of all of the reversed ends, Asra's is the one that actually scared me and kind of haunted me, because it hits a little too close to home.
These are all just thoughts that I wanted to spill out because I thought it was interesting and I wasn't sure if anyone else has talked about it before.
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sunderwight · 7 months
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Scenario where Crowley, actually being crow-like rather than snake-like in this regard (or perhaps dragon-like) has spent a lot of his time on earth accumulating a hoard of supernatural treasures that he just sort of keeps shoved in a storage unit somewhere.
Most of it are things that other demons or angels have lost on Earth, or occult tools that humans have made that proved a little too effective at doing dangerous or inconvenient things that like, threaten to unleash the hordes of hell onto the world (Hell approves of intervening because the understaffing issue means they don't actually want a whole bunch of demons suddenly taking unsanctioned holidays on Earth). But basically if an angel accidentally drops their celestial harp or some guy comes up with a way to hack a direct line to Satan, Crowley goes and fetches the relevant artifact and then, because Hell's bureaucracy is a joke and they never actually check, he just sort of keeps hold of them instead of sending them back to head office.
Crowley's got his own unit somewhere full of Indiana Jones style treasures. Holy grail, Ark of the Covenant type shit. Half of it is broken and a lot of it even he is uncertain of the provenance of, whether it was made by angels or demons or humans in some cases is tricky to discern, and some of those things are just objects that were causing trouble or seemed liable to and so he grabbed them and stuffed them in a box and forgot about them.
Usually he brings the books to Aziraphale first, but there are some he's grabbed while they were in "not speaking to one another" phases of their relationship, and Crowley only cared to remember to show them to the angel if he thought that Aziraphale would find them interesting. (Crowley, despite having spent a lot of time listening to Aziraphale talk about books, still does not actually know a lot about books, and so is not always a good judge of what might be interesting.)
Basically where this is going is: Crowley has had the Book of Life moldering in his storage locker for decades, and he has no idea. It just looks like a kind of shabby, big old book! There isn't even a title on the cover, and he could never get it to open, so he thought it was a dud book or something (again, he doesn't really 'get' books). He got it off of some charlatan occultists in the 1500's who were running a con about being able to summon angels, but then actually did manage to summon Aziraphale, which annoyed Crowley (interrupted dinner) so he stormed in all demon-like, put the fear of Satan into them, and took away all of their stuff. He would have shown Aziraphale the book, but they got into a fight straight afterwards so instead Crowley just added it to his hoard of crap and completely forgot it existed. The renaissance was going on, there were a lot of distractions! How would Heaven even lose something as important as the Book of Life?
Anyway, this has led to a massive misunderstanding that coincided with Aziraphale's genuine interest in books, where the Metatron thinks that Aziraphale somehow figured out that the Book of Life went missing and has been covertly blackmailing him for centuries with the offer to discreetly find it (via various rare book dealers and underground book circles specializing in occult books, like prophetic tomes and etc), and Aziraphale just thinks he's successfully convinced Heaven's upper management that a bookshop is a perfectly good celestial embassy.
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gatutor · 6 days
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Harry H. Corbett-Diane Cilento "Rattle of a simple man" 1964, de Muriel Box.
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karingottschalk · 1 year
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BFI: How Muriel Box broke down doors for female directors in Britain
https://www.bfi.org.uk/features/how-muriel-box-broke-down-doors-female-directors-britain “She directed more films than any woman in Britain, then or now, yet the accomplishments of Muriel Box are still not widely recognised. Ahead of a new season of her work, BFI curator Josephine Botting celebrates a pioneer in telling women’s stories.” Links B&H Affiliate Link –Click here to research and…
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moontoonart · 11 months
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𝘈 𝘣𝘰𝘹 𝘰𝘧 𝘲𝘶𝘦𝘴𝘵𝘪𝘰𝘯𝘴 𝘰𝘳 𝘢𝘯𝘴𝘸𝘦𝘳𝘴? 𝘚𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘥𝘦𝘧𝘪𝘯𝘪𝘵𝘦𝘭𝘺 𝘴𝘦𝘦𝘮𝘴 𝘶𝘱.
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empyrealbiscuit · 1 year
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This post is leak-free.
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Hi! It’s empyrealbiscuit, the world’s boxiest username. So much has happened in the good omens fandom since the release of the opening titles for season 2, which is when I started drawing this. The trailer and the teaser came out and they were both lovely and quite exciting, but then the leak happened (which I was lucky to not see), and now everything feels like it’s upside down. But enough of that, here’s more Muriel! Anyone got any theories for what the box means?
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