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renova-writes · 1 year

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the way you look tonight

a rainy day in new york inspired work

gatsby wells x reader

word count: 649 (short and sweet)

warnings: no warnings needed

a/n: I was watching a rainy day in new york for the first time tonight after rehearsal and I think this film changed my outlook on many things

masterlist

“Tabbie? Is that you? What’s wrong?” He entered the kitchen where you were cutting vegetables. He didn’t go over to give you a kiss like you were accustomed to, instead he kicked the trash can.

“I don’t know.” He ran his hand through his hair. “It’s possible I guess.”

“What’s possible? Use your words.”

“That, that I left my wallet on the subway!”

“How- Why would you leave your wallet on the subway?”

“I don’t know! That’s not like me. I don’t forget things!”

“Well you did today Gatsby.”

“Gatsby. God woman, why do you insist on calling me Gatsby?”

“God, why do you call me ‘woman’! For christ's sake Gatsby you left your wallet on the subway. No big deal. Just call, cancel your cards, and get a new one. People lose wallets all the time.”

“Yes but not Gatsby Welles! I don't forget things.”

“For heaven's sake Tabbie, relax! Sit down, have a glass of wine. Let’s go out to Le Corbeau tonight, like we used to. We can sit in one of those leather couches in the back with the cigarette ashes and listen to the piano while we gaze into each other’s eyes. Doesn’t that sound nice.”

His eyebrows lowered down from his face and his cheeks began to glow. Here came the Gatsby humor you were well acquainted with. “But you're forgetting something darling: I don’t have my wallet.”

“You might be a successful businessman, but don’t you forget: I was successful too.”

“Oh, how could I forget? With a voice like that? Darling you were an angel. Listening to you sing was like seeing light for the first time. I fell in love before I even spoke a word to you.” He moved in to engulf you in his arms, pulling you in from behind.

“You tell me this every day.”

“And good for you to remember it. I don’t deserve you my love. I could live a thousand lives and never come close to your purity.”

“My love you need look only in the mirror.”

“You flatter me.”

“You flatter yourself.”

“I know you didn’t mean that my bird.”

“If I am a bird then your arms are my cage and yet I sit content within.”

“I have a better idea. Why don’t we take a walk in the park? The city is so beautiful in the rain.”

“So long as we can stop underneath the clock tower and dance to its song.” You pressed your lips gently onto his.

“Will you sing for me?”

You sat down at the piano in the great room. You stretched your fingers before letting them dance over the keys.

Someday, when I'm awfully low, When the world is cold, I will feel a glow just thinking of you, And the way you look tonight

Yes, you're lovely, with your smile so warm, And your cheeks so soft, There is nothing for me but to love you, And the way you look tonight

With each word your tenderness grows, Tearin' my fear apart, And that laugh wrinkles your nose, Touches my foolish heart

Lovely, never, never change, Keep that breathless charm, Won't you please arrange it?, 'Cause I love you, A-just the way you look tonight

And that laugh that wrinkles your nose, It touches my foolish heart

Lovely, don't you ever change, Keep that breathless charm, Won't you please arrange it?, 'Cause I love you, A-just the way you look tonight

Mm-mm, mm-mm, Just the way you look tonight

Gatsby had joined you at the piano bench while you played. He said nothing during the course of your performance but at its close, he lifted your hand from its ending note and brought it to his lips. “Darling, oh my darling, it’s you who looks beautiful.”

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chalamet-chalamet · 3 months

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Timothée Chalamet for Cartier

IG credit to elle_arabia

#timothee chalamet #so hot #timothée chalamet #dune part two #dune part 2 #dune promo #dune #February 15 #Cartier

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pascow · 13 days

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DUNE: PART TWO (2024) dir. Denis Villeneuve

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artist-issues · 9 months

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About Greta Gerwig, Little Women, and Narnia

Greta Gerwig should not be in the Narnia realm at all. As anything.

The Narnia stories are inseparable from Christianity. Greta Gerwig is a Unitarian Universalist. This means she, in her own personal life, doesn’t believe in the saving work of Jesus Christ, which is a core belief of Christianity, and a core theme in Narnia. Everything in the Narnia books hinges on this, from the character motivations to the structure of the fantasy world to the way the magic in Narnia works.

Additionally, the women in Narnia do not adhere to post-modern or even antique feministic values. They are celebrated for their love and tender-heartedness and faith, all of which require self-sacrifice. Aravis of The Horse and His Boy starts out a proud warrior escaping an arranged marriage and ends up a humbled lady of Archenland court marrying the Prince. Susan Pevensie is at her best when she’s tender-hearted and at her worst when she doubts and becomes more concerned about her own identity than others. The school that Eustace and Jill go to in The Silver Chair is derided for it’s feministic views. By contrast, modern feminism is opposed to self-sacrifice, and that is the kind of thing Greta Gerwig demonstrates belief in throughout all of her works.

Am I saying that no person who isn’t a Christian or some type of conservative when it comes to feminism can ever work on Narnia? Absolutely not. I’m not saying that. Lots of people on the Walden Media Narnia movie (the first one), which was great, were not Christians and did not believe in the saving work of Christ. But they stayed faithful to the source material, even if they didn’t believe in the source material themselves. So the story retained it’s autonomy and power.

Greta Gerwig can’t do that. She has already demonstrated that she does not know how to make a story that hangs on to it’s integral source material if she, herself, doesn’t agree with that source material. She can’t be objective, and therefore, she can’t be faithful to what Narnia is.

How do I know that? Little Women.

I don’t care if you liked the Little Women movie by Greta Gerwig. I don’t care if the acting was “amazing” and I don’t care if Timothee Chalamet and Florence Pugh are great in it. I said exactly what I said. Greta Gerwig made a great movie—but she made a terrible adaptation of Little Women.

It was not Little Women. She made changes to Little Women. What changes, you ask? Changes to the specific pieces of the source material that did not reflect Greta Gerwig’s personal views.

That’s the cardinal sin for directors of adaptive stories or remakes—to make changes to the core themes of a classic tale, because you don’t agree with those core themes. That’s called mutilation, not “updates.”

Here’s how she did it in two major ways in Little Women:

She cut out Jo’s humble response to Friedrich’s gentle rebuke of sensation stories, and replaced it with a feministic self-pitying outburst from Joe and s borderline apathetic, cool piece of feminist advice from Friedrich. That takes all the continuity out of it and warps the characters. That scene is so pivotal in the book. It’s Jo, respecting a man who is much older and excellent in character than any other she’s ever known, and feeling immediately humbled by him calling her out. She’d never have responded that way if Laurie called her out. They would have argued. But this scene was supposed to show what Jo needed from a future romantic partner. She needed someone she respected, someone who could be wise and gentle—two things Laurie is not. She needed someone who would help her take her eyes off of worldly success and herself, and onto eternal benefits to mankind, specifically, the effect her stories might have on children. His gentle, respectful, wise love (and the love of characters like Beth) turns Jo from a self-absorbed writer into a selfless mother, like her own Marmee.

But Greta Gerwig never wanted Jo to be a selfless mother. She wanted, and I quote, “Jo’s love to be her work, and her romance with Friedrich secondary.” You know why?

Because that’s what Greta Gerwig believes in. Greta Gerwig’s life is her work. Watch any of her movies, you’ll see the smudge marks of that wholehearted belief all over them. She can’t even be objective when the whole point of a character is to make work secondary, as was certainly the case with the character of Jo March. No. She has to twist up one of the best American heroines ever into an automaton of herself.

The second way she mutilated source material is with Amy and Laurie. In the books, Amy and Laurie grow to love each other out of the character deficiencies that they make up for in one another. At the start of their courtship, Amy is ambitious and Laurie is lazy. Amy wants to marry for advantage, and Laurie wants to make much of his spurned love for Jo by giving up on life. And that’s it.

It’s Amy who first wakes up to feeling something romantic toward Laurie, not Laurie, and Laurie is not the first to make a move on her. Laurie does not know he is in love with Amy until well after she knows she loves him. Then, he does not make the first outward advance on Amy. They both come to the same conclusion together; when they do, she does not resist. In Greta Gerwig’s version, he’s back to falling in love with a girl who’s resisting, because that’s where Timothee Chalamet’s emotional acting shines or whatever.

But that’s not the worst part. The worst part is that she adds a feminism speech from Amy, as a reason for her resistance, and she subtracts the scene where Laurie actually proposes. The scene where Laurie proposes, in the book, is so beautiful.

The two characters are in love, they know they’re in love, and neither of them is insecure about it. Amy has learned that she needs a life-partner who knows her and will protect her, like her old home-values did, and not some rich aristocrat or prince. Laurie has learned that he needs a life-partner who can stir him toward change, not through big explosive arguments and hope of conquered affection like Jo, but with gentle love and sheer inspiration, found in Amy.

So, in the most beautiful analogy for courtship that ends in marriage ever, he proposes to her while they’re rowing on a lake. She’s sitting next to him in the middle of the boat, she’s got one oar, he’s got the other, and she says, “How well we pull together, don’t we?” And he says, “so well that I wish we might always be in the same boat. Will you, Amy?” And she says “yes.”

That’s it. No argument. No big, passionate, sentimental explosion like he had with Jo. No wrenched and broken heart-strings. He didn’t have to convince her. She didn’t have to resist. Because entirely without force, and entirely without insecurity, they protected each other’s hearts and came to a conclusion that was based on something so much deeper and more eternal than fleeting passion.

Greta Gerwig cut that out and listened to Meryl Streep and put in another stormy lover’s-quarrel speech from Amy about why she couldn’t be with Laurie because she was in Jo’s shadow, and feminism and marrying for advantage, blah blah blah. It’s terrible. It’s mutilation. It ruins everything the original Little Women had.

it doesn’t matter if she got some of the characters right. It doesn’t matter if she got a lot of the quotes right. It doesn’t matter if all of Act 1 of the movie is mostly-book-accurate. If you change load-bearing themes or character motivations, you show that you can’t be objective and faithful to the source material.

It is fine if Greta Gerwig wants to make a movie about a woman who loves her work more than anything else. It is fine if she wants to make a movie about how women are under-appreciated for their minds and souls, and have characters that go on a journey to prove it. But it is not fine to use someone else’s story to say it. Make your own story, Greta Gerwig.

Oh, you already did? See: Lady Bird? See: Frances Ha? Then come up with something new. Don’t shoehorn your same beliefs into every franchise that is offered to you, like vomiting, then eating the vomit and regurgitating it over and over in new colors. Figure out how to tell someone else’s story in a faithful way, objectively, or else keep your stained hands off until you can clean them up. Especially, keep them off Narnia.

Greta Gerwig makes movies for Greta Gerwig, by Greta Gerwig. She can’t be objective, and for that, she can’t do Narnia. She can’t do it justice, she can’t do it faithfully, because she makes movies for herself, by herself.