#fidel fontaine

[dance-world]

Fidel Fontaine

#fidel fontaine #dance #ballet #dancer #ballerino #bailarín #boys of ballet #ballet men

[violet-eng]

You teach Neuvillette what sex between humans is like. | Sub!Neuvillette x dom!fem!reader | NSFW🔞

someone asked for sub!Neuvillette so here I am.

Summary: You have a sort of crush on Neuvillette, and you've discovered that he's actually the Hydro Dragon. So one casual evening at his house, you slowly tempt him, and end up showing him that his horny human physiology isn't just used during mating season like dragons do.

Warnings: +18, reader!dom! Fingering, riding/cowgirl, piv, nipple sucking, unprotected sex.

MDNI

Average of 3k words ig.

🎨: hamusutaaa_ on Instagram

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Fontaine's Iudex had kept his true identity hidden with arduous caution for long enough... so the revelation of his true form had come as quite a shock to you. Neuvillette was the true face of the Hydro Dragon you had heard so much about as a child ... Now it all made sense, the pieces found their place and fit together perfectly. You had never met such a man before, with a cold gaze and unwavering mettle, fierce convictions and indelible fidelity.

That sense of justice that so tormented the Iudex, that detached perception he possessed about humans -as he called them-, his perspicacity and stubbornness, the truthfulness of his actions... all those attitudes and virtues were indeed incapable of coexisting in an entirely human body.

"It must be exhausting for you to have to coexist with creatures you don't know in their entirety" you say looking out the window of his house.

"On the contrary, I find it very enriching. I did not know such complex beings, or at least not with such closeness" he answers from his armchair, while crossing his arms.

"To that curiosity I owe then the constant storm of questions you ask me when you go to my library?" you ask walking towards him, with a slow step and the gaze fixed on his eyes.

While the revelation of Iudex Neuvillette's true form had shocked you, it had not stripped you of your feelings for him, after all, in your eyes he still looked like a human.

Neuvillette swallows saliva, failing to hide his growing anxiety beneath his stoic facade. He drops his gaze on your figure, which is advancing towards him, he runs his gaze over your face, your shoulders, the curve of your waist and hips... and your legs... he imagines them spread apart for him... he would know how to treat you if given the opportunity to...?

"It seems that Chief Justice is undergoing an inner trial" you whisper resting your hands on your hips, tilting them to the side and smiling.

"This human form is very different from my original form y/n" says the Iudex, voice subtly losing the firmness that always accompanies it, "It comes with sensations I am unaware of... and reactions I cannot control."

Having mentioned that, you notice the growing bulge in Neuvillette's pants, along with his flushed cheeks. Is he humiliated?

You can't help but laugh at the image of Fontaine's unyielding Iudex in front of you, erect and ashamed of his new physiology. Neuvillette rests his elbow on the chair and covers his cheeks with a gentle wave of his hand.

"I guess that doesn't happen to dragons often" you say, shortening the distance between the two of you, "you have nothing to be ashamed of, dear Iudex" you add leaning down, taking his hand and kissing the back of it.

He looks away pressing his lips together, turning only his gaze to observe your cleavage, where he can appreciate the shape of your breasts. He immediately regrets it, and berates himself for behaving like a pervert.

"I have to admit," you continue, moving closer to his ear, warm breath brushing against his earlobe, "that I've always wanted to cross certain boundaries of decency when I see you in my library.

"Y/n~," he lets out, stifling a groan, resting his hand against his length, just short of destroying his pants.

"Allow me to show you, Monsieur Neuvillette, that we humans do not only have sex when we are in heat... that we have sex when we want it and with whom we want it," you drop your hand to his, pressing against his throbbing member.

Neuvillette does not know how, in what way you have acted and why he is in his own bed, naked, completely exposed to you, who admire his figure from your position.

You are standing in front of his bed, observing the Iudex's gifted physiology, his elbows resting on the silk sheets, his hair on his scarred shoulders, his member raised, almost suggesting that you are coming to him.

You undress slowly, without taking your eyes off him, first your blouse, your stockings, then your pants and your shoes, remaining in your underwear. You watch Neuvillette, who can't control his breathing and seems to drip a little when he sees the thin fabric covering your breasts and your sex.

He wants you, fuck, he wants you as much as you want him....

"Since when do you have these feelings for me, Monsieur?" you ask as you remove the clasp of your bra.

"I... ah~" the Iudex can't find the words.

"Don't rush..." you reassure him as you undo your panties, which are sliding down your legs to the floor, you push them aside with your foot.

And when you are completely naked in front of him, you notice how he clasps his hands and puckered his lips, he's as instinctive as you thought.

"My dear Neuvillette..." you whisper as you crawl over and sit astride his form, "so pitiful... poor thing, you have nothing to be ashamed of," you say as you stroke his cheek.

You brush aside the strands of silver hair and tuck them behind his ears, admiring the soft fall of his hair, like a waterfall cascading down a mountain.

With your thumb, you caress his cheek, feeling the warmth of his pink, sweaty, smooth skin. His lips, they are thick and wet, begging you to take them and devour them without hesitation. And his eyes... fuck... you've never seen that pleading look in the Iudex, so fervent and devoted, so eager for you to use him at your whim.

How strange to see him in this state, when he is the one who is often in the position of power in court....

"Y/n..." he whispers, his voice cracking and his eyes watering.

"No Monsieur, don't cry... at least not yet, we don't want it to rain," you say, laughing.

You take Neuvillette's hands, much larger than yours, and place them on your thighs, letting him caress the warm skin under his palms. The Iudex lets out a choked moan, arching his back at the shock as his nipples harden.

You guide his hands over your waist and to the base of your breasts, causing him to squeeze the soft flesh and let out a distinct moan. His grip is precise, and the heat of his fingers makes a flame grow in your center.

"May I?" he asks, wetting his lips with his tongue as he stares at your breasts. You nod at his request, surprised at how quickly he catches one of your nipples in his mouth.

He sucks on your nipple like a hungry infant and bites your skin while making guttural and very embarrassing sounds if anyone else could hear. His hands anchor behind your back, shaping your waist under his nails, which dig gently into your skin in ecstasy.

You throw your head back as you guide his head to your other nipple, which also seeks the attention of his desperate tongue.

"Fuck, Iudex," you moan, clutching at his hair, the skill of his mouth was something you did not expect at all, the way his tongue ran along the tip of your nipple and traveled to its base, leaving soft nibbles on the underside of your breast.

Growing ecstasy makes you guide one of his hands to your center, his soft digits brushing the skin of your lower abdomen, the crease between your thighs and your womanhood.

You slide one of his digits between your folds, parting the wet, glistening vestibule. Neuvillette allows himself to feel the elixir flowing from your pussy, bathing his fingers and yours, the sound of the goo flooding his ears, his lobe reddening at the musical he encourages with the rubbing of his fingers against your center.

He is inexperienced, you know, so you help him find your clit, throbbing anxiously for contact, thirsty to be rubbed without propriety.

"Right there, Monsieur~" you whimper, throwing your head back. The pressure of his fingertips on your nub of nerves makes you roll your eyes and bite your lip, the sensation rising in your belly and your pussy aching to feel more of him.

Neuvillette's fingers are clumsy at first, clouded by the sweet song of your muffled moans, and eventually he loses himself in his own pleasure. He regains his composure and becomes quite apprehensive, sliding his fingers from side to side, in circles, at a steady pace, applying light pressure to your clit.

"Am I doing it right?" he whispers, his face pressed to your chest, the heat of his breath hitting your breasts, coated with his saliva.

"You are a... good apprentice, Monsieur~" you hold back the cry caught in your throat, the fruit of his good skill.

You move your hips slowly, back and forth, increasing the contact of his skin against yours, at the same time he accelerates the movement of his fingers, the fluid of your pussy drowning his digits that are about to bring you to your climax.

"Like that, just like that~" you almost shout, clinging to his back, your hips suddenly bucking over his hand, rather vulgarly, like a dog rubbing.

The heat grows in your belly and between your legs, flooding all your femininity, sending electric waves through your legs, fluttering unashamedly around the Iudex's hips.

"Ah! Neuvillette!" you scream as you feel the flame burst out, your nails digging into his shoulders, marking his pale skin, your core contracting and your substance leaving your insides.

Fuck... Did he make you cum just by rubbing your clit?

"It can't be," you whisper. It's the first time something like this has ever happened to you, and you sense confusion on Neuvillette's face.

"Did I do something wrong?" he asks, frightened and ready to apologize.

"You have done nothing wrong, my dear Iudex," you say, caressing his cheek, brushing his lower lip with your thumb, circling the softness of that lovely fleshy feature of his that begs for a kiss.

You join your lips to his, it's a wet, passionate kiss, and between each nibble he moans for air. His shy tongue can't resist any longer and intertwines with yours, an erotic dance that reveals the animal side of the oh so subtle Judge.

"You've been a good boy, Neuvillette," you whisper against his lips, "let me show you how good boys like you should be rewarded," you say, pushing his shoulders so that his back slams against the sheets, feeling him almost swallowed by the silk of the sheets.

You lift Neuvillette's arms above his head, trying to grab his wrists with only one hand.

You tilt your head at the image, his muscles tense, sweat running down them, his shoulders defined, with the marks of your nails, and his hands, fingers glistening from the orgasm he just tore from you.

You look down at his length and...what?...you'd swear he wasn't this big a few minutes ago.

"It won't fit," you say to yourself...you've been with big guys before, but this was definitely beyond you. Maybe it's a characteristic of dragons...

"Please...it has to fit," whispers Neuvillette, whose heightened senses have allowed him to hear you, his voice, an almost muffled whimper, choked by his own ecstasy that has crossed his boundaries, completely taking over his human side and showing only his instinctive side.

"I'm going to ride you, Neuvillette, like you'll never be ridden again in your life," you interject abruptly, the words leaving your lips in a frenzy of anguish whipped by desire, the thought of having his thick cock inside you was eating away at your mind.

Your hand is not enough to cradle the base of his member, the fingers remaining spread even as you raise and lower your hand up and down its length. You align his throbbing manhood with your entrance, your pussy contracting against the nothingness in anticipation of what awaits you, your juices rewetting your center.

His cock slides in slowly, parting you completely, with inordinate amplitude. Your walls contract at the colossal invasion, and a moan falls from your lips, almost like a sob.

"So~" Neuvillette moans, his chest rising and falling in desperation, the sensation of his cock being devoured by your hungry pussy driving him wild. "So tight."

This provokes nothing more in you but your lust takes over completely, ignoring the pain, you let yourself fall all over Neuvillette's hips, his cock penetrating your depths, hitting that spot on your cervix that feels oh so fucking good.

You continue to squeeze him and he can only let out a grunt of pleasure, feeling that little pussy all to himself, gripping his length completely, you had been brave to take that risk.

Fuck. What a good time the Iudex was having.

"You're beautiful," he whispered, eyes closed and lips parted, lost in the pleasure you were provoking in him, the way you were using him to your advantage, he had never been in a position like this before, he was always the one....

"Fuck, y/n!" his thoughts were shot down by the circular movement of your hips, the friction of his member against your walls, the oil bathing you both, the sweat falling on your breasts, you are a goddess to him and you ride him like one.

The Judge was vocal, fucking vocal, the jerky movements of your hips, the way you jump on his member, tearing loud moans from his lips, hoarse howls, deep, raspy moans. Your name, overflowing from his bruised throat, makes you move with greater speed, resting your hands on his pecs, nails marking his skin again, making him yours and yours alone.

"Tell me you like the way I ride you," you command, your movements relentless, merciless.

"I~" he babbles, "I like the way you ride me y/n~" he flatters.

Neuvillette becomes a storm of praise as you bend further over him, giving him as much access to your loins as possible. He clings to the sheets, hiding his face in his shoulder.

"Say you're mine," you whisper, your hand around his throat, forcing him to look into your eyes.

"But..." he hesitates. The Hydro dragon cannot belong to anyone, especially a human, it disturbs the free and wild nature of its kind... that means shame and...

"Why do you stop moving?" he asks, almost like a small child, terribly worried.

"I won't let you cum until you tell me..." you say flatly, almost coldly, your gaze hard, almost unrecognizable.

"Please," Neuvillette pleads, grabbing your hips and trying to move them in a pathetic attempt at self-pleasure. "Y/n!," he begs fervently.

Neuvillette is not humiliated by the situation as he thought, damn it... this attitude of yours does nothing but turn him on beyond measure, drowning his insides in flames of desire, of desire to belong to you, to ignore his nature and abandon everything just for you, for your pussy that takes him so well.

"I belong to you, completely, for eternity. My being does not deserve a lover as fervent as you, I refuse to disappoint you in the future, to disappoint or deny you. My fidelity is totally pervaded by you, by your wishes and commands. My dearest y/n, you are my lover, the only one on this earth who can have control over me," he pauses, waiting for you to respond in some way to his plea.

Hours have passed and Neuvillette continues to cum in your insides. His eyes are rolled back, completely empty, tearful, he has come out of himself, your movements have brought him to paradise.

Outside, Fontaine is inundated by torrential rain, the inhabitants unaware that the rain is not due to the season, but to the fact that their respectable judge is getting the fuck of his life.

It's almost inhuman what you've endured on his cock, but the way his seed overflows inside you has proven to be addictive. He is addictive.

"Neuvillette~" you moan, resting your hands on his knees, his tip abusing your G-spot, your pussy inflamed from the abuse of the last few hours.

"I think I'm going to... Ah!~" your last moan is almost a cry of desperation, your I don't know how many orgasms of the night have overtaken you, and this time it is indeed your last.

You let yourself fall onto your lover, who wraps you in a warm, trembling, restless embrace, stroking your hair and your back. You hear the raindrops on the roof of the house, and you lean on your hands to look into Neuvillette's eyes.

You gently wipe away his tears, kissing his cheeks and the remnants of the sobs that the pleasure you gave him caused him.

"Why didn't you do this before?" the judge asks.

"I didn't have the courage," you answer, falling back to rest on his chest, exhausted as he is.

Your heart beats slowly, your muscles succumb to the abuse and your eyes close, lulled by the soft fall of the rain.

"We should do it again tomorrow," the Iudex says.

"Judge's orders?" you ask teasing.

"Tomorrow I'll show you how the hydrodragon fucks that little pussy of yours, " he decrees, his voice firm, the one he uses to deliver the verdict during trials, "you won't be able to walk for days".

#neuvilette smut #neuvilette x reader #neuvillette #neuvilette fanart #neuvilette genshin #genshin smut #genshin impact

[drrutherford]

What are the 5 Important female relationships in Gideon's life?

Taking out family cause that's too easy, as well as characters that are not currently in play like Nora (bff) and Diana. Also taking out Amélie for this one (sorry Amélie) bc she's in a slightly different category in relation to Gideon at this point in time than the ones below. In no particular order, then, the following ladies come especially to mind:

Eleanor — He's known her almost as long as he's known the Rutherfords themselves. Somehow, looking back, he sees Eleanor in most of his childhood memories, smiling in the periphery. Always trailing after Lara and Adri, undoubtedly, but always there. Always a friend to the family, always a constant. As they've gotten older, he's keen to make it known that the feeling is mutual, and that he'll always be a constant for her too, should she ever have need for it. After catching Olivier Fontaine threatening her during the Awards After-Party, that protective instinct has surfaced more overtly in him, and he's determined to figure out what kind of trouble she's gotten herself into, and if there's a way he can help. @eleanorxshipley

Cassandra — They go back ages, they have a complicated history and a connection that's often been described as a love/hate dynamic by others. There's a lot of ingroup loyalty there, despite all the jokes about nepotism and elitist educational experiences. He also has a lot of respect for her political career and her outspokenness on ethical topics. Even though I suspect if he were to find out about some of her sympathies for the French/mob-affiliated French, he'd consider it to be hypocritical on her part and would lose some respect for her political stances accordingly. That said though, his loved ones are his Achilles' heel, and Cassandra, whether she knows it or not, has earned a spot in that circle that would take a lot for her to lose. @cassandra-acton

Ayda — A newer and far more recent entry to the list, and because of that the depth of this connection is (inevitably) a little less invested than the rest. But that doesn't mean he doesn't care about her. They've spent time together on and off over the last few months, and there are a lot of qualities he cherishes in her. He's rooting for Ayda, and she's someone he'd like to see happy. He's also made a promise to her brother to keep an eye out for her, and whether or not he trusts Hasan, he intends to keep his word. For her sake, and out of respect for the uphill battle that she choose by leaving behind a life of crime, even if she's still loyal to her people. But this also makes their connection a little bittersweet, because he's mindful of the fact that life may pit them against one another or force them eventually to take sides. @ayda--demir

Jessica — They've had their ups and downs, but somehow the downs have only brought them closer. This isn't something Gideon takes for granted, as many of his friendships have fallen apart exactly when the going got tough. In a humbling way, what's won him over the most when it comes to Jess' character is her capacity for forgiveness, even when he didn't deserve it. Heck, even when he was too proud to ask for it. Although he's not the type of man to make explicit declarations of fuzzy feelings, this experience was one that's ultimately earned Jess his hard-won trust, and his fidelity to their friendship. The other stuff; their shared commiseration of working in the NHS, the hospital banter, common traumas they've survived, are merely additional layers on that foundation. @jessi-reyes

Alexis — What is it about some of the oldest connections in his social circle that get so damn complicated?? This might seem a surprising entry for the list, but it isn't, not to Gideon. There's a lot of bad blood between them, a lot of misunderstanding, and lot of ways in which he's felt hurt by Alexis, too. That said, there's little he wouldn't do for her, if push came to shove. He'd defend her against any naysayers and protect her to the best of his ability, if needed. A lot of this does come down to loyalty to his best friend, Spencer, but that isn't to say it'd be his only motivation for sticking his neck out for her. Spencer's also been with women in the past that Gideon did not respect and would not protect. But he respects Alexis; he always has. She's smart, funny, and she can go toe-to-toe with Spencer as few people can. Selfishly, Gideon wishes she had a better opinion of him, but that doesn't change the fact that she's important to him, even if the feeling isn't mutual. @alexislarsson

#THE ESSAYS.... #non serious qs only from now on #i don't have it in me to proofread so no one drag me for any typos or stupid sentences #relationships #askgideon #G x Eleanor #G x Cassandra #G x Ayda #G x Jessica #G x Alexis

[robegalline06]

Visite de la villa de Nicolae Ceausescu: son culte de la personnalité lui a été inspiré par la Corée du Nord, sa terrasse par Fidel Castro  Un touriste russe visite le jardin d'hiver de la villa de Nicolae Ceausescu, à Bucarest, en 2017. REUTERS / Inquam PhotosVU D'AILLEURS - «Il n'était peut-être pas aussi bon joueur d'échecs qu'on le disait» est la phrase la plus critique envers le dictateur de Bucarest qui soit prononcée dans son ancien palais. Nous avons visité sa luxueuse propriété, aujourd'hui transformée en musée.À l'entrée de la villa du dictateur, un seau rempli de couvre-chaussures bleus à usage unique identiques à ceux qu'on porte à l'hôpital nous attend. Pas d'exceptions: baskets, bottes et mocassins disparaissent sous une couche de plastique.Et il suffit de faire quelques pas pour comprendre que ce n'est pas de l'hygiénisme abusif: la moquette usée des caisses laisse rapidement la place à de luisants parquets cirés. La guide énumère sur un ton un peu blasé: acajou, marbre italien, marbre roumain, bois de cerisier... À LIRE AUSSILa Roumanie commémore la chute de Ceausescu Pourtant, la richesse de ces sols passe presque inaperçue tant l'attention des visiteurs est happée par les murs couverts de soie, les tapisseries françaises, les fontaines en mosaïques et les fauteuils dont les coussins sont si épais qu'il semble impossible de s'y asseoir. Des lustres immenses descendent des plafonds. «Cristal tchèque, verre Murano», récite la guide. Même le glamour d'une Kim Kardashian ne pourrait concurrencer celui du palais… Par Emilia Dłużewska (Gazeta Wyborcza) https://scontent-cdg2-1.xx.fbcdn.net/v/t39.30808-6/279150609_146053944652922_5084215679657867493_n.jpg?_nc_cat=104&ccb=1-6&_nc_sid=730e14&_nc_ohc=ct4Bc5FoPvUAX8KP6AU&_nc_ht=scontent-cdg2-1.xx&oh=00_AT_frKsqWpUr-c2xpO4D86-AYxdF9Wn2opm2WzFGXT0zmw&oe=627AE0E1

[gemkun]

@iudiex said: ❝  i’m  probably  about  as  stubborn  as  you  are.  ❞ // for zhongli ! ❥         𝐀𝐍𝐀𝐒𝐓𝐀𝐒𝐈𝐀     (     ₁₉₉₇      )

      —       time   wears   on   all.   it   does   not   discriminate,   nor   does   it   create   exceptions.   even   on   ancient   relics;   beings   who   have   witnessed   much.   naturally,   the   pendulum   swings,   guiding   each   passing   tick   as   a   simultaneous   entry   into   its   passage   —   woven   with   cherished   memories   —   while   simultaneously   acting   as   the   proverbial   string   of   fate.   leaving   two   souls   bound.   entwining   justice   with   the   god   of   contracts.

  his   visit   to   fontaine   had   been   long   overdue.   and   particularly   of   interest   following   the   recent   trial.   alongside   the   oratrice   and   its   verdict   furthering   substance   to   the   matter.   the   governing   law   had   been   a   notable   and   poignant   area   of   interest   to   the   consultant,   for   an   indeterminate   amount   of   time.   to   witness   it   in   action,   would   be   a   reward   in   of   itself.

  the   purpose   here   wasn’t   to   exercise   justice.   it   was   to   observe.   for   was   the   region   of   the   hydro   archon   truly   constrained   to   the   sentence   of   the   oratrice   ?   was   neuvillette,   ordainer   of   inexorable   judgement,   a   pawn   to   the   device   ?   had   this   nation,   tied   to   its   archon,   sealed   itself   under   the   intangible   threads   of   their   own   overarching   contract   with   this   system   ?

  a   cup   of   tea   would   help   soothe   his   rampant   thoughts.   ease   the   iudex   as   well.   such   tension   was   palpable,   stifling   if   one   lingered   in   a   corner   for   too   long.   ❝   surely   you   jest,   monsieur   neuvillette.   ❞   amber   gleams   —   burning   lustre   —   as   if   to   part   the   sea,   exposing   its   shielded   core.   into   vulnerability.

❝   your   investigation   is   tantamount   to   ensuring   fontaine’s   integrity.   it   is   at   moments   like   this   that   your   allies   will   prove   to   be   your   greatest   strength.   though,   i   do   hope   you   have   strong   ties   among   them.   they   will   take   you   far   in   perilous   and   volatile   times.   ❞   his   insinuation   alone   is   enough   to   illustrate   the   severity.   instability   is   beyond   those   doors,   lying   in   wait.   ❝   fidelity   is   the   answer   you   are   seeking.   ❞

#* ✦ 𝐈𝐈. ❮ asks ❯ ⸻ ❝ #* ✦ 𝐕𝐈. ❮ muses ❯ ⸻ ❝ 「 zhongli 」 #capturing this man's voice is gonna take me 10 years #he goes from saying im broke to reciting contract law in 5 seconds flat #i honestly dont know where i was going with this but i think they could make law talk sexy

[favoniuscodex]

Hiii first off i love your works they really brighten my day and if youre still taking requests for the follower event can we get an

arranged marriage 💖

FOLLOWER EVENT - most likely to & fanfic tropes most likely to end up in an arranged marriage - childe, diluc, zhongli

considering the tsaritsa is the goddess of love, childe thinks its pretty dumb that she's insisting he enter into an arranged marriage with an inazuman elite. sure, baal is unpredictable and the tsaritsa needs to placate her, but why did it have to be him of all of the harbingers? it's not like he blames you or anything -- you don't necessarily seem like you want to be here either. but jeez, its hard for his typically smiling face not to feel resentment when childe first lays eyes upon you. sure, you're attractive and funny and smart and you show genuine interest in the things he talks about, but isn't he supposed to find love on his own? falling in love with the person he's been arranged to be with feels contradictory and yet...

diluc is the heir to the ragnvindr clan and is easily the most sought after man within mondstadt due to his status and wealth. and yet, after everything he's been through, diluc doesn't really desire getting attached to someone else yet again, yet he's a savvy enough businessman to realize that marriage can be beneficial if not done out of love. so, he elects to marry you, the heir to fontaine's largest vineyard in a plan to eventually combine businesses once you inherited yours. diluc is surprised by your intellect and finds himself looking forward to your company, soon surpassing the realm of strictly business. when the wedding rolls around, its a public affair (after all, the two of you are extremely well-known in your respective countries) and diluc is strangely... satisfied by the idea of everyone seeing him kiss you. at this realization, diluc's heart begins to beat faster whenever you're around and, much to his chagrin, he finds himself falling deeper in love with you every day.

zhongli is the ex-archon of contracts and is no stranger to suitors throughout his many years of life. while he has taken lovers before, there's never quite been the sense of finality that he feels with you. in his final, mortal years of life, he only has the chance for one last great love. yet, zhongli finds himself signing away his fidelity to you in the form of an arranged marriage. you had met the wangsheng funeral consultant and became close friends with him long before, in the midst of your family pressuring you to marry someone of high status. while zhongli didn't exactly originate from a well-respected or high status family, his reputation amongst liyueans is pristine, so you had approached him and begged for him to marry you, lest you end up with someone you loathed. it was a friendly arrangement and beneficial for both sides -- it got you out of hot water with your family while alleviating zhongli's financial situation. and yet, as the two of you stand on the balcony of your wedding reception venue alone, zhongli can't help but feel as if you will be his greatest love of all, even if your marriage had been birthed out of the contracts he once presided over.

#sorry these r taking so long haha #diluc x reader #childe x reader #zhongli x reader #genshin impact x reader #diluc #childe #zhongli #genshin impact #axia's writing #axia's 4.5k follower event

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Reviews of Jane Eyre Adaptations

An overview of my thoughts on all the film and television adaptations I have seen.

Jane Eyre 1934  Virginia Bruce And Colin Clive

This is the first talkie version of “Jane Eyre” and I think has the rather unfortunate timing to have come out during the Great Depression. For that is the only reason I can think of for making the story so cheery and sweet. Gone are moral ambiguities and dilemmas. Adele is Rochester’s niece, and Rochester is in the process of divorcing his mild-mannered and slightly mad first wife. Even Mr. Rochester is charming and affable (and quite obviously in love with Jane from the start); you don’t have to work hard to like him.

Jane herself is quite spunky and has no trouble expressing anything she is feeling. I find it funny how she calls out Mr. Rochester on everything. No wonder he is pretty straightforward with her. And Jane is acknowledged to be young and pretty in the movie- interesting since so many adaptations in later years get beautiful actresses to play Jane and then pretend they are plain.

I think because this version lightens the story so much, one can’t take it too seriously as an adaptation of “Jane Eyre”.

1943 Jane Eyre   Joan Fontaine And Orson Welles

There’s a much better attempt to adapt the actual novel in this version (as compared to the 1934 film version) which makes for an interesting transition from light to dark. The 1934 film being a little too happy and this version being a little too dark. Orson Welles plays the role of Rochester with such an intensity that makes him a little intimidating. No wonder Joan Fontaine’s Jane looks like a deer caught in headlights most of the time.

The script has some interesting changes to the story that perpetuates through several movie adaptations to follow. Helen Burns has her hair cut at Lowood instead of Julia Severn in the novel, and Jane heroically demands to have her hair cut as well. Jane is more directly the cause of Mr. Rochester falling off his horse as he looms up on her and she is unfortunately in the way instead of standing quietly by the side of the road. Jane also feels she has to defend Adele and asks Rochester to treat her more kindly- something Jane never does in the novel.

Other interesting innovations to the story include a St. John Rivers who is the Doctor for Lowood, and who provides Jane with lessons of morality instead of Helen Burns. Overall, this film is fantastically moody and quite romantic, and a very good film if you aren’t too concerned about fidelity to the novel.

1949 Jane Eyre Mary Sinclair And Charlton Heston

Studio One produced this hour long episode and it was apparently filmed live, so they had one big set for the whole program. Consequently the script centers on the Thornfield section, although it does show Jane leaving Lowood. The house party consisted of just Blanche (with Jane having to play piano for their amusement!)

Mary Sinclair as Jane does not bring much to the role. She says her lines and acts smitten as needed. Charlton Heston is an aggressive and overly masculine Rochester, and he doesn’t really capture the character very well either. It doesn’t help that he tended to over do the emotion somewhat.

The story is very chopped up, obviously, and everything moves very quickly. There really isn’t much to recommend this, unless you are a big fan of the novel, and you like old movies.

1952 Jane Eyre  Katharine Bard And Kevin McCarthy

This episode was also produced by Studio One and is very similar in script and features a similar set. They seemed to have a little more money in the budget though because the staging and sets were a little better. And Mr. Rochester was able to have a larger house party, that reflected the book more.

Katharine Bard was also not very memorable as Jane. She said her lines and was just there. Kevin McCarthy had this interesting nicer vibe to him. He seemed more friendly and sweet, while also being demanding sometimes. It’s still not a great characterization though.

Again, I would not really recommend this version unless you are set on watching all adaptations (and that’s a great idea!)

1956 Jane Eyre Daphne Slater And Stanley Baker

This early six-part British miniseries is available to watch only at the BFI in London. I was pleasantly surprised by how well this version adapted the story. Slater and Baker’s interpretation of the characters is wonderful and the dialogue/script follows the general plot of the novel very well. It does veer off from the actual dialogue of the book, but in this case, I liked the changes. It captured the gist of the scenes and the character’s emotions. The only really odd moments came from some of the more emotional scenes which would have been better with Charlotte’s words.

The childhood part of the story features the actress playing adult Jane, also playing Jane as a child, which is a little jarring, but it actually worked rather well. Slater was good at capturing the essence of a child. Young Jane in this version is also much more outspoken and Helen Burns feels more like an equal to Jane - much less overly religious and self-sacrificing. It made for a different dynamic but I enjoyed how it showed Jane and Helen’s close relationship

Unfortunately feisty, young Jane becomes much more muted and easily frightened as adult Jane. Slater’s Jane is still good though, despirt her timidity and is able to hold her own against Baker’s Rochester. Baker makes an imposing, brusque and rough Rochester, but he brought some nuance and emotional depth to the character. The miniseries also does justice to St. John Rivers and shows him as very formidalbe and controlling - perhaps the most cold and disturbing I have ever seen St. John portrayed. He attempts to read a letter that Jane receives without her knowledge, and also lies to Jane that Rochester has already moved on from her.

This was a wonderful version with many scenes and moments that I did not expect to be included in so early an adaptation.

1957 Jane Eyre Joan Elam And Patrick MacNee

This adaptation is much fun. It’s just… so weird. The interpretation of the novel is so bad, it’s like the writer was making fun of “Jane Eyre.” Jane is preachy and spiritual to the extreme. She doesn’t have a care for herself but just wants to help Mr. Rochester in any way she can. Which Mr. Rochester must be glad of since she excuses his lecherous advances on her because he drinks (alot apparently) and because he has had a troubled past. But after Rochester has tried to take advantage of Jane, he does fall in love with her and it’s cute how much attention he pays to her during his house party. Which gives Blanche a chance to be ridiculously catty.

Mason also gets interesting things to do in this adaptation. He doesn’t get quietly stabbed and bitten on the third floor- no he crashes down some stairs during the house party, bleeding and terrified. A supremely Gothic moment. And when Jane agrees to marry Rochester, Mason sort of slides into view and is all ‘I don’t think so.’ Mason has some attitude. The script for the adaptation is just over the top- down to little Adele scrabbling in the ashes for a toy when Jane finds her in the end after (a really quick) fire.

For an “interesting” way of looking at the story of “Jane Eyre”, this adaptation scores high marks.

1957 Jane Eyre (Italian) Ilaria Occhini And Raf Vallone

This adaptation is in Italian, and the copy I have has no subtitles, so I’m reviewing this with only the acting and the gist of the scenes to go by.

This is a 5 part adaptation (oddly each episode is not quite the same length) and it begins with Jane meeting Mr. Rochester by felling his horse. From there, Jane’s childhood is told through some flashbacks. Some of the more interesting adaptation choices this version makes is to have Jane much older when she finally leaves the Reeds house. And a new sort of character is introduced - by the name of Jack Lloyd. He seems to be a combination of John Reed and St. John, in that he is Jane’s cousin on the Reed’s side (maybe?) and is in love with Jane from the beginning. While the first episode mostly deals with Jane’s childhood, we still get scenes in the next three episodes to what the Reeds are doing and especially Jack Lloyd. Jack also turns up at Thornfield to take Jane away to visit sick Mrs. Reed. I was very entertained by what seemed to be Mr. Rochester’s jealousy over Jack! Another interesting thing about this script is that Mr. Rochester hires a gypsy and listens in on the readings she gives (just like in the 2006 miniseries). And then, he comes out to comfort Jane because she has become distressed.

The feel of this adaptation is very dramatic, there is an emphasis on Gothic elements (forbidden rooms, screams, portentous secretive glances) and the audience sees things from Bertha’s point of view a couple times, as she wanders Thornfield’s halls. Jane and Rochester are smitten with each other very quickly. I found it funny how often they stare at each other as if there was no one else in the room. (Sometimes there was.) Jane can seem a bit moony, and Mr. Rochester has a few mood swings. He can seem really nice one minute and then suddenly speak very sharply. This adaptation is a bit slow, and takes some interesting liberties with the story, but I found it very entertaining and romantic. And Mr. Rochester regains his sight in a dramatic moment in the end during the wedding. A nice dramatic wrap-up.

1961 Jane Eyre Sally Ann Howes And Zachary Scott

This one-hour television production for “Family Classics” was introduced by Joan Fontaine which was a nice surprise. Opening credits start with Grace Poole getting herself some alcohol. Mr. Rochester’s entrance is not quite as dramatic- he is sitting in a chair in the darkened library when Jane goes down to get a book and he startles her when he speaks. I actually really liked this adaptation. Sally Ann Howes was again serviceable as Jane, nothing special in her interpretation. Zachary Scott as Rochester brought something different to the role as compared to the previous American hour-long television productions. His Rochester was more aristocratic in ways, he sometimes- and very vaguely!- put me in mind of Dracula. Not that he was vampiric, just in the way he carried himself. And maybe because he was dark and thin.

The script manages to include a “Rivers” section where Jane actually gets a proposal from St. John- something that hasn’t happened in the previous film adaptations I have seen. And St. John is rather egregious and plump- not very like the Apollo of the book. And if I’m not mistaken, this is also the first time they flash back to Thornfield burning down while Jane is away- breaking up the Rivers section with a scene with Rochester.

If I had to pick the best of the American hour-long productions, I would pick this one. Which is viewable free at the Paley Center in Los Angeles and New York.

1970 Jane Eyre Susannah York And George C. Scott

I feel that this version is the first to approach the story of “Jane Eyre” as it is, rather than as a dramatic rendering. It’s somber and dreamy and pretty straightforward in portraying the scenes. Not that the characterizations are all correct. Susannah York’s Jane is mature- reflective of the actress’s age undoubtedly, and George C. Scott is curiously cold and dry most of the time. St. John Rivers is surprisingly passionate and eager to marry Jane even though he still doesn’t love her.

The production benefits from location shooting (first version to shoot on the moors?), and wonderful music which goes a long way to filling in the passion and romance that is lacking in the actors. Much attention is paid to the character of Helen Burns here which is a plus- the audience really gets to see how Helen helped Jane to grow. The script in itself is okay, until the blundering line of Rochester’s “But I loved her once, as I love you now.” when Rochester has shown Bertha to Jane and the wedding party. I find that line basically undermines Rochester’s love for Jane. It is important to understand that Rochester did not love Bertha at all so then Rochester doesn’t seem so much like a jerk.

Well. This version has some issues, but to see it after the previous versions, it is a breath of fresh air because it comes closer to recreating the novel proper.

1972 Jane Eyre (Czech) Marta Vancurova And Jan Kačer

I have not re-watched this version in a long time, so this review is very brief:

A friend was able to find this rather obscure adaptation made in 1972 Czechoslovakia. The copy she found is in Czech with no subtitles, so I can’t understand a word of it. However, I will comment on the overall tone that I received from the four hour adaptation- melancholy and artsy (perhaps reflective of a low budget). Not as much passion to certain scenes as one would expect, but I did enjoy this adaptation and they did a good job with condensing the material. Except for the Lowood portion of the story, which they cut out.

1973 Jane Eyre Sorcha Cusack And Michael Jayston

This is the best version of Jane Eyre to date. I wouldn’t say there was an overall tone for the miniseries- it comes off as a straightforward interpretation of the novel. Production values are lacking in that set design and blocking are less than inspired, but it does have great costumes and outdoor sets. There are really just two reasons why this is the best version in my opinion. Script and characterization. The script uses much of the novel’s dialogue (finally!!), and sometimes brings out interesting elements of humor that one might not have noticed before. And I feel like Jane Eyre has many funny moments or comments that are mostly overlooked in other adaptations. And in condensing the material they kept so much of the story intact it’s surprising. I am only disappointed by how they shortened the Gypsy scene by having Jane discover Rochester too quickly. But every other important scene is done beautifully.

As for the actors, I am only disappointed in Juliet Whaley’s Young Jane, whose acting is stilted sometimes, but she was young. Sorcha Cusack portrays a nice blend of shyness and independence and Michael Jayston is superb as Rochester. His performance is nuanced and mesmerizing. Stephanie Beacham is probably the best Blanche I have ever seen as well- she comes off as snobbish and selfish but I can see how she might be captivating and charming to men.

There is not much else I can say about this, my favorite adaptation. I think every one who is a fan of the novel should see this version.

1983 Jane Eyre Zelah Clarke And Timothy Dalton

Another mini-series adaptation, this version had a bigger budget it seems than the 1973 version. Set design and lighting are improved, and the show even got it’s own theme! The show was also 30 minutes long per episode which gave a different, more leisurely pace to the scenes. It seems like they wanted to make sure each episode ended on a little cliff-hanger. But with the pace slower, it sometimes felt like the actors were speaking too slow. There were long (introspective?) pauses and they even broke up scenes with time lapses and set changes. The proposal scene for instance starts in the library and Jane runs out to be alone in the garden.

As an adaptation of the novel, this is the second best film version because it has so much time to give to telling the story. Zelah Clarke as Jane is a little monotone sometimes, but she does a good job showing Jane’s spirited side. Timothy Dalton’s Rochester is imperious and masterly, and very charming. The script has a proper charades scene and Rosamond Oliver makes her first appearance in this adaptation. They also show an older Eliza and Georgiana which is another first.

Overall, this version is very good and is only ranked behind Jane Eyre 1973 because of dialogue/script changes and characterization.

1996 Jane Eyre Charlotte Gainsboroug And William Hurt

This version takes a fresh look at the novel. The flow of the narrative is different- much faster in pace, so that some scenes happen quickly right after the other- giving time no doubt to show the more leisurely and melancholy scenes of Jane and Rochester alone. During Brocklehurt’s first visit to the Reeds, he immediately takes Jane away to Lowood, and there is a quick transition from Helen Burns dying to older Jane by her graveside then walking to take the coach to Thornfield. And as soon as Jane flees from Rochester and a bigamous marriage, Thornfield is on fire and the audience knows that Rochester has been injured before we know what has happened to Jane.

The overall tone of the movie emphasizes Jane and Rochester’s loneliness, which makes the film very poignant. Any “supernatural” elements to the story is minimized- Mr. Rochester does not loom up on Jane, but passes her by and then slips on ice (like in the book), and Bertha’s madness has a touch more realism and sympathy when she pushes Grace Poole to her death and then jumps after her. And again, Jane does not hear Mr. Rochester’s voice calling to her (though there is that one instance where maybe you could hear him whispering her name on the winds?) but instead she looks into her heart and knows she must go back and find out what happened to him. Even the Rivers aren’t her cousins, but just happened to be taking care of Mrs. Reed, and eventually of her effects.

This is a beautiful film- great sets, locations, vistas. The music is beautiful and haunting. Despite the truncated adaptation and the one-sided portrayal of Rochester, I really enjoyed this film. Especially for the pathos of Jane and Rochester’s romance.

1997 Jane Eyre   Samantha Morton And Ciaran Hinds

Truthfully, I dislike this version. It makes me laugh though, because I don’t understand how they could have gotten so many things wrong. The script is awful, Ciaran Hinds is horrible as Rochester, and Samantha Morton is a little annoying. Though that is probably the script. So let’s start there. We have your average truncated adaptation which makes sense- they cut things that most shorter film adaptations cut, but the dialogue! It’s too modern and direct. Jane addresses Rochester in a way that is not in keeping with her sense of propriety. Of course Rochester doesn’t hold much with formal conversations with Jane in the book, but his conversation in this film has none of the poetic prose of the novel. It’s all very cliched and off-putting.

Since Grace Poole is made a much bigger mystery in this version than in previous ones- Jane’s eagerness to rehabilitate her make sense, but is an unnecessary addition to the plot. Especially as Jane keeps harping on what Grace Poole is doing. Ciaran Hinds as Rochester is shouty and brutish and especially distasteful after the failed wedding. He throws Jane’s luggage down to the first floor and drags her to the garden, blaming her for not loving him enough to be his mistress. The only time I liked Samantha and Ciaran’s chemistry was after the fire in Rochester’s bedroom, when he took her hand. After that it was too much panting and open-mouthed kissing. Yikes.

The only scene that was enjoyable was when Jane comes back from visiting Mrs. Reed (curious how they lead up to that scene, but did not show her with Mrs. Reed at all) and Mr. Rochester is happy/annoyed at seeing Jane walking into Thornfield. It was a cute scene. Other than that, I wouldn’t really recommend this if you wanted a romantic version.

2006 Jane Eyre   Ruth Wilson And Toby Stephens

Another BBC mini-series of which I always expect alot. In some ways this adaptation delivered and in others it fell short. Production values were excellent of course. Ruth Wilson as Jane was a revelation. I’ve always thought it was hard to portray Jane’s inner emotions as detailed in the novel but Ruth manages to make her thoughts visible facially. Voiceovers were really not necessary. She’s just so good and so nuanced, well-rounded, I loved her portrayal of Jane. There are a couple of scenes in this version that have never been previously adapted. Namely the “carriage scene” when Rochester takes Jane to Millcote to buy dresses. The carriage scene dialogue with Adele in tow is so cute and playful and shows a wonderful side to all three characters. There is also the scene where Jane runs out in the rain to catch up to Mr. Rochester the night before their wedding. The dream sequence also makes it in- with Jane holding a baby while being kept away from Rochester. All scenes that I very much enjoyed watching.

Disappointingly, the script in general didn’t quite capture “Jane Eyre” in my opinion. The dialogue and changes to Mr. Rochester’s character specifically did not feel right. And of course there is THAT scene on the bed that really felt out of place for the story and for Jane’s principles. And why does Mr. Rochester hire a gypsy to trick Jane? It seems like there’s an attempt to minimize some theatrical elements (Rochester cross-dressing, the voice across the moors- now scientifically explained!) to maximize on other theatrical elements (dream sequences, Rochester’s bed on fire- which looked like a pyre, and the terrifying secret in the attic). There really doesn’t seem to be much point to emphasizing one and not the other.

Mr. Rochester often seemed a little immature, too boyish maybe, in his eagerness to collect dead insects maybe? I never really felt that Toby Stephens captured Mr. Rochester’s sophistication. The efforts to increase the sexual tension did not improve my opinion of Rochester, because Rochester getting Jane into bed was just a low blow. For the most part, I’d watch this version for Ruth Wilson and some of the humor and playfulness they put into the story.

2011 Jane Eyre Mia Wasikowska And Michael Fassbender

This version is a complete and refreshing surprise. Judging from the trailer, I thought it would be melodramatic in the extreme with an emphasis on the darker Gothic elements, but nothing could be further from the truth. The set design, lighting, and camera choices could be seen as dark, but they are also realistic to the times and what seems to be the vision of the director, Cary Fukunaga. Which appears to be to present the story of Jane as she lived it, completely tuned in to her thoughts and feelings. A very refreshing idea. Many versions have added or filmed sequences of the story in which Jane did not participate- for example, Thornfield burning down or scenes between Blanche and Rochester, but the story stays with Jane practically the whole way through, with camera angles highlighting that the audience is experiencing everything through Jane. This really changed the experience of viewing the movie- it felt real and not like a spectacle.

The script helps alot in this, it condenses the story but stays true to every part of it. Even with the narrative structure changed, it still hit all the important scenes, and stayed true to even the lesser characters in the story. It is surprising what scenes are not included in the movie- for instance the tearing of the veil- so that the focus of the story is more on Jane and Rochester’s relationship but even with that the more Gothic elements are not completely marginalized. There is still a sense of things not being quite right.

Mia Wasikowska as Jane is excellent; strong and intelligent, and fantastic at conveying her inner emotions through body language. One of the many things I loved in this version are all the shots of Jane walking/pacing restlessly. Mia somehow conveys that there is “a vivid, restless, resolute captive” inside of her. Michael Fassbender is commanding and sardonic and tender and teasing, sometimes all at once and sometimes flipping between the emotions at will- quite amazing to watch. He can be so intense that you are a little afraid of him and then so pleading and desperate that your heart breaks for him.

The movie was understated and simple and more powerfully emotional because of it. Personally, this would be my second favorite adaptation after the 1973 mini-series. Despite the inevitable condensing of the story, and an ending that felt a bit abrupt, it was so refreshing to watch a version that did not overplay the story and kept the focus on Jane.

2013-14 The Autobiography of Jane Eyre Alysson Hall And Adam J. Wright

This web series has Jane, a 21 year old university student, working as a nanny for Mr. Rochester’s daughter Adele. She vlogs about her life, and through the videos we get to meet all the people in her life.

I was really impressed by how close they stuck to the novel - adapting scenes that are often disregarded in other adaptations (granted they have a lot more time with this series) but also to make some scenes from the book modern must have been a great challenge. And I was really mostly happy with how they managed to make everything fit in their world.

I do have some issues with this as an adaptation though. Sometimes I lose focus on what some episodes are trying to adapt from the novel - it doesn’t always flow well for me, and I had an issue with Jane taping people in the beginning without their consent. I mean she can accidentally leave the camera on, but she doesn’t have to post it. But the reason why that bothers me is because Jane is supposed to have better sense than that. She can be a bit naive, but she always knows what’s right and wrong. But then again, it is difficult to adapt this kind of story! The audience would want to see these people!

The actors were all really excellent in their parts. Jane of course was so endearing and quirky - definitely different from Jane in the book, but believably the modern version. Mr. Rochester had a wonderful sense of humor and it was evident from the beginning how much he cared about Jane. Their romance was so sweet and developed very well throughout the videos. The Rivers were also believable surprisingly - I mean especially when it came to the St. John character - now called Simon. St. John in the book would be very difficult to modernize I think - because he’s so zealous and religious, selfless but selfish. They made Simon a little bit too dorky and cute, but he was also stubborn and unsympathetic to others which fit. There were some changes made when it comes to Grace that made the story work very well, and a new character - Suzana - would often steal the show with her sassiness.

It is disappointing that towards the end they had to recast the actor who played Rochester which leads to a sort of rushed and incomplete ending. I think they did the best they could, but for a series that has done such a wonderful job bringing so much of Jane Eyre to life, it’s unfortunate they left out so much of the ending.

This adaptation had it’s ups and downs for me, but I always felt there was a lot of love for this book in every episode, and the writing and the story planning was often exceptional in adapting the book. I was always happy to get a new episode and it was such a great experience getting a little dose of Jane’s story every week.

2000 Jane Eyre the Musical Marla Schaffel And James Barbour

Okay, the musical. This is the Paul Gordon version. I’ve seen SO MANY comments bashing the musical by people who have never really listened to it just because it’s “Jane Eyre” with singing, and “Jane Eyre” shouldn’t be a musical (OMG!). I have to say I was never a fan of musicals before listening to this version. (Except for “The Sound of Music” which…is a little bit like “Jane Eyre” isn’t it?) At any rate, it took awhile for me to come to grips with all the singing, so I can understand where people may come from but I hope that at least some of the people who turn their backs on this musical might actually like it if they really listened to it.

I do love this musical. I think adding music to the already lyrical text heightens the emotion of the story and can very easily put you into the mindset of each of the characters. The ability of Paul Gordon to work in actual text from the novel into the lyrics is amazing as well (something I come to realize even more as I listen to other Jane Eyre muscials). In terms of condensing the story, all the major scenes are there for the most part, and without too many additions. I love that they even have Rochester as the Gypsy which is rarely done in Janian adaptations. The tone of the whole show is somber- in set design and music, but there are moments of humour- with Mrs. Fairfax most often bringing in the comic relief.

Marla Schaffel is marvelously grounded as Jane- her characterization is balanced between propriety and passion- something that is hard to do in a straight production, but when Jane can sing in privacy, it can all come out. :) James Barbour is commanding as Rochester (and not only because of his voice, which is a glorious baritone). His performance is more layered than many Rochesters I have seen, having a certain finesse or gracefulness while also being gruff and abrupt. The other characters are mostly spot on with the exception of Mrs. Fairfax (played by Mary Stout) who plays her good-natured but a bit doddering. And St. John Rivers is not quite the jerk he is in the novel. Though he still doesn’t love Jane when he asks her to marry him.

1952 Sangdil Madhubala And Dilip Kumar

I have not re-watched this version in a long time, so this review is very brief: An Indian film released in 1952. Whether or not this film is an adaptation of the novel is perhaps debatable. The setting is completely changed to India and there are changes to the story reflecting Indian culture. Yet, the basic story of Jane Eyre is there and many scenes are taken from the novel- notably the Gypsy scene (with Shakur impersonating a male astrologer) In my opinion this is a very enjoyable representation of the novel. Kamal is played with a strong moral sense, shyness and innocence. Shankar is admirably played with much angst and playfulness.

#Jane Eyre #Charlotte Bronte #Jane Eyre 1943 #Jane Eyre 1970 #Jane Eyre 1973 #Jane Eyre 1983 #Jane Eyre 1996 #Jane Eyre 1997 #Jane Eyre 2006 #Jane Eyre 2011 #Literary Adaptations

[claudehenrion]

Un 'mal français' (''saison'' 2020)

  La vision que nos ''leaders'' ont du monde actuel se résume à un cauchemar qu'ils imposent aux citoyens -qu'ils devraient avoir pour pour mission d'éclairer... à défaut de les rendre plus heureux ! Le tyranneau exotique Fidel Castro se qualifiait lui-même de ''lider maximo''. On peut penser que ce clown aurait affublé l'absence dramatique de ''leadership'' qui caractérise et esquinte la France du quolibet peu enviable de ''lider minimo'' (un autre fou-furieux, mais turc, celui-là, n'est pas loin de penser la même chose). Plus sérieusement, ce n'est sans doute pas sans raison que le magazine allemand Die Zeit, pas un farfelu, ''dézinguait'' il y a peu (le 12 novembre.) la France, qui est devenue pour lui un ''Absurdistan''. Pour nous aussi..

  Notre Président, pour notre malheur, fonctionne avec deux idées plus mauvaise l'une que l'autre : son ''ni... ni...'' et son ''et en même temps''. Le ''Ni...ni...'', dont le seul énoncé néantise tout, est un non-concept négatif qui peut à la rigueur lui convenir, à lui, car il n'a, de fait, rien à foutre de la Gauche (un réservoir à députés dits LREM, pour lui !) ni de la Droite (une réserve de premiers ministres-girouettes). Il a eu le tort –et ses quelques électeurs réels avec lui-- de déduire de cette extravagante autarcie intellectuelle que la Gauche et la Droite n'existaient plus... alors que, si elles ne sont effectivement qu'un mot très mal utilisé, ce mot correspond à une partition quasi éternelle de l'humanité en deux groupes que rien ne rapproche : les cigales et les fourmis. Nous en parlons souvent, dans ce Blog.

  La seconde originalité du soi-disant macronisme (car rien de réel ne peut exister qui se définisse par une double négation, comme le ''ni... ni...'' cité plus haut), c'est sa mantra ''et en même temps'', qui n'est que l'absolu contraire du gaullisme : alors que notre Président ne manque jamais de se recommander du Général, il pratique par système le contraire du gaullisme historique (avant qu'il ne soit plus qu'un argument de ''comm'' pour berner les électeurs). Le gaullisme, c'était : ''je décide une ligne de conduite... et je m'y tiens, contre vents et marées'', à l'opposé exact de ce ''et en même temps'', qui permet de faire un beau discours (et encore...), et de mettre en œuvre le contraire de ce que les mots laissaient espérer (ex. : avec les chrétiens, avec Poutine, avec Trump et Biden, avec les musulmans ou avec leurs victimes, avec les gilets jaunes, les juges et les avocats, les commerçants, les militaires, les agriculteurs, les soignants, et tous les autres).

  Résultat : au bout de trois années d'une alternance de douches tièdes-un-peu-chaudes et de douches tièdes-un-peu-froides qui est si contraire à leur histoire et à leurs références (et à leurs rêves secrets d'ordre et de patriotisme, voire de cocoricos) les français, ces mangeurs de grenouilles, ''demandent un roi'' qui, sous-entendu, doit être un roi républicain (un changement, oui, mais modéré tout-de-même !). Mais les français n'acceptent jamais bien longtemps des trucs ambivalents, mi-figue, mi-raisin ou carpe et lapin comme le disent si joliment tant de nos proverbes et locutions (NDLR : relire la fable de la Fontaine sur les grenouilles qui demandent un roi. Je viens de le faire : c'est délicieux... et tellement vrai !)... Ce n'est tout de même pas moi qui ai le premier remarqué que notre ex-douce France est le seul pays à avoir remis en œuvre ''leur'' inacceptable ''Ausweis'' à 135 € le flic croisé (seul autre pays, la Grèce a un laissez-passer, mais très différent).

  Au bout de trois ans (venant, motif terriblement aggravant, après la période noire socialo-hollandaise), l’antiracisme et le multiculturalisme sont devenus  les seules et uniques idées de ce qui reste de la pensée ''de gauche'', avec leur faux égalitarisme qui se réduit au matraquage fiscal et leur soi-disant la��cité dont la tolérance sélective est exclusivement anti-catho... Des terrasses de Saint-Germain-des-Prés aux lambris dorés des palais de la République, en passant par les universités et les administrations, l'antiracisme de salon est donc devenu le nouvel opium des faux intellectuels, le grand projet qui leur ramènerait, rêvent-ils en secret, plein d'électeurs (NDLR : Tu parles !)... mais (et ça, c'est certain), la plus grande des dystopies ! En faire un examen critique est une question de vie ou de mort...

  Et au bout de trois ans, on compte sur les bulletins d'une urne les français qui croient encore à une seule des analyses, des promesses, des affirmations, des thèses ou des réponses de gens pour qui ils ont pourtant voté, il n'y a pas si longtemps, jusqu'à entr'ouvrir la porte à une espèce de pandémie inventée de toutes pièces : cette ''conspiro-manie'' qui est le seul argument que trouvent nos gouvernants pour (ne pas du tout) expliquer le rejet massif dont ils sont l'objet...

  Il est vrai que, dans beaucoup d'autres pays, les choses, pour n'être pas rigoureusement comparables, n'en sont pas moins problématiques, aussi. Mais comme disait le sinistre et inutile Fabius, ''eux, c'est eux, et nous, c'est nous'' : ‘’Restons français’’, et regardons, par exemple, la crise de nerfs qui secoue en ce moment-même notre pays autour d'un simple film à très petit budget, ''Hold-Up'', qui aurait normalement dû passer inaperçu de l'immense majorité de nos concitoyens. On a du mal à croire que nos ''génies'' si peu géniaux ont réussi à transformer une bulle de chewing gum (de ''bubble gum'', plus exactement) en un immense dirigeable ''Zeppelin''. Or, c’est ce qu’ils ont réussi à faire ! Absurde ! 

  ‘’Hold-Up’’ : de quoi s'agit-il ? Un certain nombre de gens, littéralement excédés par les hésitations, les flottements, les tergiversations, les retournements et les changements de pied –et, pourquoi ne pas le dire puisque c'est vrai , les gros mensonges proférés jusqu'à devenir un florilège de scandales d'Etat, du haut en bas de la hiérarchie- ont perdu toute confiance dans la parole officielle et se posent des questions. Il serait très malvenu de leur en tenir rigueur... et pourtant, c'est ce que fait en permanence le Pouvoir, qui semble ne pas avoir d'autres armes et d'autre stratégie que l'insulte, la ''mise au coin'' et une accusation aussi ridicule qu'exagérée de ''complotisme'' qui est devenue dans la bouche de ceux qui la profèrent, l'accusation la plus grave qu'ils puissent trouver : elle n’a aucun sens !

  Qui sème le vent, messieurs les censeurs, récolte la tempête. Ne venez pas chouiner ensuite sur les ondes de votre ‘’sévice public’’ lorsque votre impéritie tous azimuts aura fini de dresser contre vous la masse des braves gens. Vous ne pourrez vous en prendre qu'à vous-mêmes, et ne comptez pas sur moi pour pleurer sur votre triste destin : je n'en aurai pas le temps, puisque vous m'aurez entraîné dans la tourmente sans fond que vous être en train de lancer, comme si c'était la seule chose urgente du moment. Une remise en cause de ce que vous croyez être s'impose, et elle devrait être radicale. En aurez-vous le courage... et l'intelligence ?

H-Cl.

[imustak]

Music in April #iTunes #love #like #happy #vinyl #album #covers #records #CD #アナログ #音楽 #レコード #music #sounds #art #Alternative #Punk #Rock #Electronic #Dance #Experimental #Industrial #NewWave #Pop #Reggae #World #Ambient #Noise #Jazz #NewAge African Head Charge Ann Lewis Claude Fontaine Coldcut Feat. Roots Manuva Congo Natty David Bowie Dengue Fever Denise Sherwood DIN A Testbild Erasure Everfor Fidel Nadal Gary Lucas with Arkell & Hargreaves Ghetto Priest ft. Junior Delgado & 2 Bad Card Higher Authorities Horace Andy I Mean Us Iggy Pop Johnny Thunders Lee "Scratch" Perry Little Axe Los Gaiteros De San Jacinto LSK and Adrian Sherwood Mark Stewart Neneh Cherry & The Thing New Order Neyssatou & Likkle Mai Nisennenmondai Nouvelle Vague Perfume Roots Manuva & Doug Wimbish Sandii Sherwood & Pinch (ft. Daddy Freddy & Dubiterian) Sherwood & Pinch ft. LSK Sonic Youth Sunn O))) The Chemical Brothers Various Artists X-O-Dus Yabby You ZOMBIE-CHANG 雲朵 王欣晨 王志心 牛奶咖啡 左小祖咒 山口百恵 斯亞 孫露 椎名林檎 房東的貓 慢慢說 藍婷 梁文音 汪佩蓉 盧廣仲 吳若希 https://www.instagram.com/p/Bw-0PrEHHFR/?igshid=4qk2gtys1dyu

#itunes #love #like #happy #vinyl #album #covers #records #cd #アナログ #音楽 #レコード #music #sounds #art #alternative #punk #rock #electronic #dance #experimental #industrial #newwave #pop #reggae #world #ambient #noise #jazz #newage

[dance-world]

Fidel Fontaine

#fidel fontaine #dance #ballet #bailarín #ballerino #dancer #danseur #boys of ballet #ballet men

[till-the-end-of-thebucky]

here is an ever-growing list of some of my favorite films

-queer movies or movies with queer characters have an *

-there are problematic elements in a number of these films, some films contain problematic actors

God’s Own Country* (2017) dir. Francis Lee

Three Billboards Outside Ebbing, Missouri (2017) dir. Martin McDonagh

Dunkirk (2017) dir. Christopher Nolan

Call Me By Your Name* (2017) dir. Luca Guadagnino 

Fight Club (1999) dir. David Fincher

Boyhood (2014) dir. Richard Linklater

Moonlight* (2016) dir. Barry Jenkins

Snowpiercer (2013) dir. Bong Joon-ho 

American Beauty (1999) dir. Sam Mendes

American Psycho (2000) dir. Mary Harron

Interstellar (2014) dir. Christopher Nolan 

The Lobster (2015) dir. Yorgos Lanthimos

The Revenant (2015) dir. Alejandro Gonzalez Inarritu 

Ex Machina (2014) dir. Alex Garland

Atonement (2007) dir. Joe Wright 

Captain Fantastic (2016) dir. Matt Ross

Blue is the Warmest Color* (2013) dir. Abdellatif Kechiche 

Manchester by the Sea (2016) dir. Kenneth Lonergan 

Free Fall (Freier Fall)* (2013) dir. Stephen Lacant

Out In The Dark* (2012) dir. Michael Mayer

Jongens (Boys)* (2014) dir. Mischa Kamp

Her (2013) dir. Spike Jonze

Room (2015) dir. Lenny Abrahamson

Blade Runner (1982) dir. Ridley Scott

Blade Runner 2049 (2017) dir. Denis Villeneuve

Whiplash (2014) dir. Damien Chazelle

Eternal Sunshine of the Spotless Mind (2004) dir. Michel Gondry

Moonrise Kingdom (2012) dir. Wes Anderson

Lion (2016) dir. Garth Davis

Lady Bird (2017) dir. Greta Gerwig

Get Out (2017) dir. Jordan Peele 

Sorry to Bother You (2018) dir. Boots Riley

The Graduate (1967) dir. Mike Nichols

Margarita with a Straw* (2014) dir. Shonali Bose and Nilesh Maniyar

The Place Beyond the Pines (2012) dir. Derek Cianfrance

Princess Cyd* (2017) dir. Stephen Cone

Blue Valentine (2010) dir. Derek Cianfrance

Take This Waltz (2011) dir. Sarah Polley

Comet (2014) dir. Sam Esmail

The Road Within (2014) dir. Gren Wells

Shelter (2014) dir. Paul Bettany

The Way He Looks* (2014) dir. Daniel Ribeiro

About Alex (2014) dir. Jesse Zwick

Adore (2013) dir. Anne Fontaine

Six Years (2015) dir. Hannah Fidell

Like Crazy (2011) dir. Drake Doremus

Chappie (2015) dir. Neill Blomkamp

Across the Universe (2007) dir. Julie Taymor

Prisoners (2013) dir. Denis Villeneuve

Imagine Me and You* (2005) dir. Ol Parker

Nightcrawler (2014) dir. Dan Gilroy

Filth (2013) dir. Jon S. Baird

Drive (2011) dir. Nicolas Winding Refn

Gone Girl (2014) dir. David Fincher

Mad Max: Fury Road (2015) dir. George Miller

Adventureland (2009) dir. Greg Mottola

The Necessary Death of Charlie Countryman (2013) dir. Fredrik Bond

Nymphomaniac (2013) dir. Lars von Trier

In case you can’t tell, I think 2014 and 2017 were two of the best years for film in a long time

#film #movies #movie

[awardseason]

2017 Venice Film Festival - lineup

Opening Night Film

“Downsizing,” dir. Alexander Payne (in competition)

Competition

“Human Flow,” dir. Ai Weiwei “mother!,” dir. Darren Aronofsky “Suburbicon,” dir. George Clooney “The Shape Of Water,” dir. Guillermo del Toro “Linsulte,” dir.  Ziad Doueiri “La Villa,” dir.  Robert Guediguian “Lean On Pete,” dir.  Andrew haigh “Mektoub, My Love: Canto Uno,” dir. Abdellatif Kechiche “The Third Murder,” dir. Koreeda Hirokazu “Jusqu’a la Garde,” dir.  Xavier Legrand “Ammore e Malavita,” dir. Manetti Brothers “Foxtrot,” dir. Samuel Maoz “Three Billboards Outside Ebbing, Missouri,” dir. Martin McDonagh “Hannah,” dir. Andrea Pallaoro “Downsizing,” dir. Alexander Payne “Angels Wear White,” dir. Vivian Qu “Una Famiglia,” dir. Sebastiano Riso “First Reformed,” dir.  Paul Schrader “Sweet Country,” dir. Warwick Thornton “The Leisure Seeker,” dir. Paolo Virzi “Ex Libris – The New York Public Library,” dir. Frederick Wiseman

Horizons (Competition)

“Disappearance,” dir. Ali Asgari “Especes Menacees,” dir. Gilles Bourdos “The Rape of Recy Taylor,” dir. Nancy Buirski “Caniba,” dir. Lucien Castaing-Taylor, Verena Paravel “Les Bienheureux,” dir. Sofia Djama “Marvin,” dir. Anne Fontaine “Invisible,” dir. Pablo Giorgelli “Brutti e Cattivi,” dir. Cosimo Gomez “The Cousin,” dir. Tzahi Grad “The Testament,” dir. Amichai Greenberg “No Date, No Signature,” dir. Vahid Jalilvand “Los Versos del Olvido,” dir. Alireza Khatami “The Night I Swam,” dir. Damien Manivel, Igarashi Kohei “Nico, 1988,” dir. Susanna Nicchiarelli “Krieg,” dir. Rick Ostermann “West of Sunshine,” dir. Jason Raftopoulos “Gatta Cenerentola,” dir. Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone “Under the Tree,” dir. Hafsteinn Gunnar Sigurdsson “La Vita in Comune,” dir. Edoardo Winspeare

Out of Competition Fiction

“Our Souls At Night,” dir. Ritesh Batra “Victoria & Abdul,” dir. Stephen Frears “Il Signor Rotpeter,” dir. Antonietta de Lillo “La Melodie,” dir. Rachid Hami “Outrage Coda,” dir. Kitano Takeshi “Loving Pablo,” dir. Fernando Leon de Aranoa “Zama,” dir. Lucrecia Martel “Wormwood,” dir. Errol Morris “Diva!,” dir. Franceso Patierno “Le Fidele,” dir. Michael R. Roskam “Il Colore Nascosto Delle Cose,” dir. Silvio Soldini “The Private Life of a Modern Woman,” dir. James Toback “Brawl in Cell Block 99,” dir. S. Craig Zahler

Out of Competition Documentaries

“Cuba and the Cameraman,” dir. Jon Alpert “My Generation,” dir. David Batty “Piazza Vittorio,” dir. Abel Ferrara “The Devil and Father Amorth,” dir. William Friedkin “This is Congo,” dir. Daniel McCabe “Ryuichi Sakamoto: Coda,” dir. Stephen Nomura Schible “Jim & Andy: The Great Beyond. The Story of Jim Carrey, Andy Kaufman and Tony Clifton,” dir. Chris Smith

Out of Competition Special Events

“Casa d’Altri,” dir. Gianni Amelio “Michael Jackson’s Thriller 3D,” dir. John Landis “Making of Michael Jackson’s Thriller (1983),” dir. Jerry Kramer

Cinema in the Garden

“Manuel,” dir. Dario Albertini “Controfigura,” dir. Ra di Martino “Woodshock,” dir. Kate Mulleavy, Laura Mulleavy “Nato a Casal di Principe,” dir. Bruno Oliviero “Suburra – The Series,” dir. Michele Placido, Andrea Molaioli, Giuseppe Capotondi “Tueurs,” dir. Francois Troukens, Jean-Francois Hensgens

Special Documentary Screenings

“La Lunga Strada del Ritorno,” dir. Alessandro Blasetti “Barbiana ’65 La Lezione di Don Milani,” dir. Alessandro G. A. D’Alessandro “Lievito Madre, Le Ragazze del Secolo Scorso,” dir. Concita de Gregorio, Esmeralda Calabria

Biennale College

“Beautiful Things,” dir. Georgio Ferrero “Shadeed Martyr,” dir. Mazen Khaled “Strange Colours,” dir. Alena Lodkina

Venice Classics (Documentary)

“Light Years,” dir. Manuel Abramovich “Evviva Giuseppe,” dir. Stefano Consiglio “La Lucida Follia di Marco Ferreri,” dir. Selma Jean Dell’Olio “L’Utopie des Images de la Revolution Russe,” dir. Emmanuel Hamon “The Prince and the Dybbuk,” dir. Elwira Niewiera “La Voce di Fantozzi,” dir. Mario Sesti “This is the War Room!,” dir. Boris Hars-Tschachotin

#venice film festival #vff 2017 #news #lineup

[usgunn]

August 18, 2019

CLICK HERE for the August 18, 2019 playlist

1.  Judee Sill - “The Archetypal Man” (1971)

Friends with the CSNY guys and other luminaries back in the day, but never got her due.  Her life was tragic, with stints of drug addiction and imprisonment, but she recorded two devastatingly beautiful albums before fading into obscurity and addiction, dying in 1979.

2.  Jean-Claude Vannier - “Danse des mouches noires gardes du roi” (1972)

Vannier would be legendary in my mind if his only credit was the arrangements on Serge Gainsbourg’s Histoire de Melody Nelson.  But he has a slew of other arranging credits, including on Brigitte Fontaine’s wonderful Brigitte Fontaine Est...Folle.  And then he also made a batshit album under his own name, L’Enfant Assassin Des Mouches, from which this song comes.

3.  The United States of America - “Coming Down” (1968)

Led by two classically trained musicians who wanted to try and play rock music for, I think...political reasons?  Some cool sounds on here for a late 60′s band, including some sick fuzz bass.

4.  Antibalas - “Gold Rush (Radio Edit)” (2017)

NY afrobeat collective that’s been around over 20 years, with connections to the Daptone/Sharon Jones & the Dap-Kings world.  Also just found out they played on the song “Uptown Funk,” so...

5.  Black Moth Super Rainbow - “Sun Lips” (2007)

Weird people from Pittsburgh making weird music.  Led by a dude named Tobacco, who between BMSR and his solo records has been really prolific over the last decade, but I think the record this song comes from, Dandelion Gum, was where his decaying-VHS-tape-meets-Vocoder aesthetic worked the best.

6.  Kevin Dunn and the Regiment of Women - “AG” (1981)

Atlanta new-wave dude who produced the original “Rock Lobster” single for the B-52′s and co-produced Pylon’s Gyrate.  This is from his only full-length, The Judgment of Paris, put out on Atlanta’s legendary DB Records.

7.  The Lines - “Blisstability” (1979-ish?)

The Lines were a London-based post-punk band around in the late 70′s and early 80′s.  Acute Records, an early-2000′s label that did God’s work putting out some great forgotten post-punk and avant-garde recordings from the early 80′s, put out a singles and rarities compilation from The Lines called “Memory Span” back in 2008.  This song was only demoed, never released, but it’s my favorite thing by them among a strong catalog.

8.  Clor - “Outlines” (2005)

One of my favorite “one-album wonders” ever, Clor put out a great synth-driven, quirky pop record (the self-tlted Clor) in 2005 and then, as far as I know, disappeared off the face of the Earth.

9.  Metronomy - “The Bay” (2011) 

This British band has been up and down for me, never totally 100% delivering a satisfying album experience, but the album this song comes from, The English Riviera, comes the closest, and I love the production in the chorus.

10.  Machine - “There But For the Grace of God (12″ Version) (1979)

Disco band featuring, and produced by, August Darnell, also of Dr. Buzzard’s Original Savannah Band (who recorded the oft-sampled “Sunshowers”) and Kid Creole and the Coconuts.  He covered a lot of ground across those bands, but he never grooved as hard as this.

11.  Kitty - “Herzog” (c. 1994-1998)

There’s a great record label in Seattle, Medical Records, run by an actual oncologist who went to med school in Texas, that mostly puts out obscure European synth music, but luckily they also took the time to compile and release the otherwise unreleased recordings of this adventurous Austin, TX band.

12.  Martin Newell - “The Jangling Man” (1993)

If you have spoken to me about music in the last five years then I have probably talked your ear off about Cleaners From Venus, a band with which I have developed an unhealthy obsession.  The Cleaners put out a string of lo-fi cassettes throughout the 80′s that rival the quality of Guided By Voices in their prime.  Then in 1993 Newell enlisted XTC’s Andy Partridge (a kindred spirt in terms of qunitessentially British, intelligent, quirky songwriting) to produce a solo album, The Greatest Living Englishman, in comparativle high fidelity.  And if you know how much I also love XTC, then you have probably already guessed that it is my favorite thing ever.  This is just one gem among many.

13.  Working For A Nuclear Free City - “Alphaville” (2010)

A bunch of studio rats from Manchester come together to make sonically adventurous shoegazey pop music...and, as far as I can tell, no one cared.  But the album this song comes from, Jojo Burger Tempest, is a great adventure full of wonderful moments.  In particular, I love the guitar work in the second half of this song.

14.  Disco Inferno - “Second Language” (1994)

The misleadingly-named Disco Inferno pushed the boundaries of how samples could be incorporated into otherwise “rock” music, forming a unique strain of post-rock that I feel like is one of the only threads from the 90′s that no one else really picked up.  This is from a series of five EP’s the band put out just before and just after they released their second album, D.I. Go Pop.  Some more really great guitar work towards the end of this song.  Writing this prompted me to check up on whether the members had done anything after breaking up in 1996 -- and luckily the two main members, Ian Crause and Paul Wilmott, went on to do a few things which are all on Spotify...so more to come there...

[basicmoonchild]

FILMS BY WOMEN I WATCHED IN AUGUST

But I’m a Cheerleader - Jamie Babbit (1999) ★★★★★

The Voices - Marjane Satrapi (2014) ★★★★☆

In A World... - Lake Bell (2013) ★★★★☆

Take This Waltz - Sarah Polley (2011) ★★★½

6 Years - Hannah Fidell (2015) ★★★☆☆

Amor.com - Anita Barbosa (2017) ★★★☆☆

The Edge Of Seventeen - Kelly Fremon Craig ★★★½

Appropriate Behavior - Desiree Akhavan ★★★☆☆

My Blind Brother - Sophie Goodhart ★★★☆☆

Bare - Natalia Leite (2015) ★★★½

Holidays - Segment: Mother’s Day - Sara Adina Smith (2016) ★★★★★ 

XX - Karyn Kusuma, Jovanka Vuckovic, Roxanne Benjamin, Annie Clark (2017) ★★★★½

Black Rock - Katie Aselton (2012) ★★★★☆

Waitress - Adrienne Shelly (2007) ★★★☆☆

Wonder Woman - Patty Jenkins (2017) ★★★½

Monster - Patty Jenkins (2003) ★★½

Palo Alto - Gia Coppola (2013) ★★★½

Adore - Anne Fontaine (2013) ★★★½

Pet Sematary - Mary Lambert (1989) ★★★☆☆

We Need To Talk About Kevin - Lynne Ramsay (2011) ★★★★½

The ABCs of Death - Segment: E is for Exterminate - Angela Bettis (2012) ★★★☆☆

The Velvet Vampire - Stephanie Rotham (1971) ★★★½

Almost Adults - Sarah Rotella (2016) ★½

Follow me on Letterboxd here. 

#52 films by women #women in film #film #film blog #but i'm a cheerleader #jamie babbit #the voices #marjane satrapi #in a world... #lake bell #take this waltz #sarah polley #6 years #hannah fidell #amor.com #anita barbosa #the edge of seventeen #kelly fremon craig #appropriate behavior #desiree akhavan #my blind brother #sophie goodhart #holidays film #sarah adina smith #xx film #anthology #horror anthology #karyn kusuma #jovanka vuckovic #roxanne benjamin

[madamehenriette]

(just some of my favorite quotes about Minette from Love and Louis XIV by Antonia Fraser. Highly recommend this book, it's super entertaining so far.)

Henriette-Anne had grown tall, and her slender figure had filled out, her natural grace helping to conceal the fact that her back was slightly crooked. She was a wonderful rider as well as dancer, with a passion for swimming which was perhaps one of the few things she owed to her English heritage. Charles II, the elder brother she reverenced and had recently visited in England to mark her future marriage, was a fanatical swimmer. Somehow she never seemed to need sleep, going to bed late and waking her people at dawn, in contrast to the somnolent Marie-Thérèse.

She had a fine picture collection, including a Van Dyck of her English Family and a Correggio of the penitent Magdalen. Henriette-Anne also loved to act as a muse to the writers. The young Racine (born the year after Louis XIV) dedicated his play Andromaque to her, complimenting her not only on her intelligence but her benign influence where the arts were concerned. But Madame de Motteville pinpointed the real secret of the attraction which everyone (including briefly, her homosexual husband) felt for Henriette-Anne: It was her charm, that “something about her which made one love her.’ a ‘certain languishing air’ she adopted in conversation, in the words of Bussy-Rabutin, which convinced people she was asking for their love ‘whatever trivial thing she said’. In short, she had not been able to become a queen, (...) but to remedy this defect it was her wish to ‘reign in the hearts of honest men; and to find her glory in the world by the charm and beauty of her spirit.’ Protocol dictated that this self-styled Queen of Hearts should, in the absence of the real Queen, head every entertainment, indoors and outdoors, with her brother-in-law, the real King. “Our court rediscovers its laughing face for while Mars flourished, Love languished,” wrote La Fontaine in his “Ode to Madame.” [how to get Minette to love you: write plays about her and tell her she’s pretty...]

If Henriette-Anne really was the Queen of Hearts, her ambition, it seemed to royal-watchers at court, and who was not permanently gazing at the king? That one heart she had captured was that of her brother-in-law. There can be no question that as some point that summer Louis and Henriette-Anne fell gently, happily in love, perhaps not even understanding what had happened to them for a while. Each incarnated the other's ideal. As Marie-Therese would have made a good Queen of Spain, Henriette-Anne, Gracious and cultivated, would certainly have made a wonderful Queen of France. The private life of Louis XIV might indeed have read differently if, by some diplomatic twist and chance, the Infanta had not actually been available. Anne of Austria would have promoted her other niece instead, and given the restoration of Charles II to the English throne in 1660, might well have succeeded. This is not to postulate improbable lifelong fidelity on the part of Louis XIV. Nevertheless, the respect he subsequently felt for intelligent sister in law and the true, deep affection he always bore her -a letter from him years later attests to it - reveals the best of his attitudes to the female sex. And she was a princess. Somewhere an opportunity was missed. [should have married henriette just saying]

Yet there was an innocence about it all, certainly on her behalf. Henriette-Anne believed that she only wanted to please Louis as a sister-in-law, but 'I think she was also attracted to him in another way. Similarly, she thought he only appealed to her as a brother in law although he actually attracted her as something rather more." [Ah, so he was more attracted to her hmmmm!]

Henriette-Anne with a brown and white spaniel Mimi she adored which had been given to her by Charles II, she even danced a Court Ballet with Mimi in her arms. [A WOMAN AFTER MY OWN HEART OKAY!]

Unlike the robust Athénaïs, Henriette-Anne never felt well during pregnancy, and needed various pain-killing remedies including opium. But the real cause of her melancholy and distress was the unkindness of her husband. This cruelty was the repeated theme of her letters, either to her brother Charles, or to her old governess, Madame de Chaumont. It was not imaginary. The English Ambassador, Ralph Montagu, wrote to a colleague at the end of 1669 that if Madame had married an English country gentleman with five thousand a year, she would have led a better life than she did in France, for Monsieur ‘takes pleasure in crossing his wife in every-thing’.Compared with this malevolence, often taking the form of public rudeness, her husband's sexual preference hardly upset her. There had to be a certain kind of philosophic acceptance of such matters in an arranged royal marriage (especially as he performed his marital duties regularly with the aim of begetting an heir).

In a passion of anger and loss, Monsieur withdrew to his distant property of Villers-Cotterets, dragging his wife with him. ‘We go today,’ she wrote miserably on 31 January, ‘to return I know not when,’ and Henriette-Anne spoke further of ‘the fear I feel that the King may forget me'. This departure again Louis could not stop outright – the rights of the husband were paramount – but he certainly showed no sign of forgetting his sister-in-law. He bombarded the exile with presents from some mythical Court Lottery: caskets full of cash, jewelled garters, perfumes and glove, even some country walking shoes with lavishly expensive silver buckles.

All in all Henriette-Anne cannot have been sad to part from the court at Lille before travelling to Dunkirk, where a British squadron awaited her for the journey to England. She had a long interview with Louis before departure and he clasped her hand tightly and tenderly in farewell. The disagreeable mood of Monsieur had not lifted: referring to his wife's marked pallor, he chose to meditate on the message of an astrologer who had predicted that he would marry several times … He duly made a last-ditch attempt to block the expedition, and made no affectionate sign of farewell.

Henriette-Anne arrived at the cliffs of Dover at dawn on 26 May. She got an ecstatic reception not only from her brothers King Charles and James Duke of York with his wife Anne (whose little Anne was currently in her household in France) but also from James Duke of Monmouth, Charles's handsome, twenty-one-year-old illegitimate son. To the annoyance of Monsieur, Henriette-Anne had had one of her light-hearted flirtations, an exercise in gallantry, with Monmouth at the French court.

Jollifications, many of them by sea, where the ‘fearless and bold' Henriette-Anne walked on ‘the edge of ships', covered the diplomatic negotiations considered vital by both kings. The way had been well prepared in advance and accord was reached by 1 June. And joy of joys, Louis XIV (not Monsieur) had agreed to an extension of her visit, so that Henriette-Anne actually remained in England until 12 June.

All too soon Henriette-Anne had used up her extended leave and had to return to the French court – and Monsieur. As she departed, her brother Charles was in visible anguish, rushing back three times to embrace her, seemingly unable to let her go. The French Ambassador commented that he had not realised until he witnessed this scene that the cynical English King was capable of feeling so much for anyone.

In spite of her torments, Henriette-Anne managed to retain that graceful quality which had marked her all her life. Now the court rushed to their adored Madame's side, Louise and Athénaïs among others. To Monsieur, she said sadly: ‘Alas, you have long ago stopped loving me, but I have never failed you.' The scene with the King was more affecting. He embraced her and embraced her again as the tears fell. She told him: ‘You are losing the truest servant you ever had.'

The stern Father Feuillet, a local priest of Jansenist sympathies, was introduced. He provided little solace: when Madame was convulsed with suffering, he suggested that this was a suitable punishment for her sins. Then the greater-souled Bossuet, now a bishop, arrived. It was Bossuet who gave her the Sacrament and Extreme Unction and promised her forgiveness. Later the English Ambassador, Ralph Montagu, arrived. It was typical of Madame's good manners that she tried to tell him in English about an emerald she wanted to bequeath to Bossuet lest the Bishop be embarrassed. Finally, she kissed the crucifix Bossuet held out. Henriette-Anne, Princess of England and France, died at two o'clock in the morning on 30 June. She was just past her twenty-sixth birthday.

In order to assuage the horrified grief of Charles II, Louis ordered a state funeral as for a Queen of France, while one of Henriette-Anne's rings was delivered back to her brother. In an even greater departure from tradition, Louis sent Queen Marie-Thérèse to the ceremony incognito. (The King himself by custom never attended such rituals.) It was Bossuet's oration at these obsequies in Saint-Denis on 21 August which crowned the life of Henriette-Anne with the nobility it deserved. He stressed the shortness of her life: ‘Madame passed at once from morning to evening like the flowers of the field.' He harked back to her early years in France: how ‘the misfortunes of her House could not crush her in her youth and already at that time we saw in her a greatness which owed nothing to fortune', she who had a head and heart even above her royal birth. But now: ‘O disastrous night! O frightful night! When there arrived all at once this astonishing news: “Madame is dying! Madame is dead!”' And the Bishop told Louis XIV that Madame had been ‘gentle towards death as she was to all the world.’ 

Just as La Fontaine had saluted Henriette-Anne for the recovery of ‘our court's laughing face', so Madame de Sévigné wrote to her cousin Bussy-Rabutin that ‘all happiness, charm and pleasure' had departed from the court with her death. The Comtesse de La Fayette put it quite simply: it was ‘one of those losses for which one is never consoled.’

#JUST SO MANY INTERESTING THINGS I FOUND! #*sobs* about the fact that EVERYONE LOVED MINETTE #even her detractors couldn't find fault in her! I MEAN SHE ACCEPTED PHILIPPE'S SEXUALITY EVEN THO HIS BOYFRIEND HATED HER! #outoflight

[dijonbeaune]

Cap à table !

Cap à table !

Cap Suzon est le nom que les chefs d’entreprise locaux veulent donner à leur territoire  aux confins de Fontaine, Ahuy et Dijon, né de l’ouverture de la Lino. Un quartier plein de promesses. Ces dernières années, une quinzaine de restaurants y ont poussé, tous indépendants. Notre chroniqueur Fidel Gastro s’est donc inquiété de la santé de plusieurs d’entre eux, en cette période si particulière.…

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#Ahuy #Colombo #Coq en Pâte #le loup blanc #restaurant