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12-23-2002, 03:12 AM | #1 |
Banned
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ok someone explain that obscure object of desire to me uhhh
hopefully omar can. AHHH. it just made me go i could post somethimgn more. okay.
someone especially explain: the bag. that brown burlap sack and at the end the woman who was embroidering lace all the terrorist references sort of related to the terrorist references were the random things like. the mouse in the mousetrap or the fly in the martini. why? someone explain |
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12-23-2002, 03:14 AM | #2 | |
Demi-God
Location: New Jersey
Posts: 337
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Re: ok someone explain that obscure object of desire to me uhhh
Quote:
I was in the crib, stickin' by the fireplace, Drinkin' cold coke on the bear skin rug Doorbell rang, who could it be, Thought to myself then started to shrug Got to the door, ding-dong, who is it? My girl's best friend had paid me a visit Sly as can be, tight dress an' all, She knew that I was faithful, I really didn't have to go I tried to chill, she made the move, now I know my girlfriend wouldn't approve I didn't realise my girl was settin' me up, Yo my girlfriend didn't trust me, no Yeah but she lost control and I went and take the bait I said chill baby-baby, chill baby-baby, wait My girl must think ?................? , She said Girlfriend - Things that make you go mmm (Things that make you go mmm) Things that make you go mmm-mmm, yeah-eah-eah Things that make you go mmm, mmm (Mmm) The things that make you go mmm-mmm-mmm Here's how it started, just an example of how another brother can trample you When you light sleep with your wife, watch over hon', there was a friend of mine named Jake He'd come over late at night and say Hey, I'll watch a fight I thought it was alright 'cause me and jake, we were really really tight So damn close we're the same blood type Months went by and my wife got big, we were havin' a child and I got another gig So I let Jake move in the crib and chill, he had his own room and helped pay the bills The time had come for baby daughter to see, It looked like Jake and I couldn't believe Before my eyes in the delivery room-room Things that make you go mmm (Things that make you go mmm) Things that make you go mmm-mmm, yeah-eah-eah Things that make you go mmm, mmm (Things that make you go mmm) The things that make you go mmm-mmm-mmm Robby-Rob break it down-down-down Give it to me, give it to me, give it to me ..... Seventeen and I was havin' a ball, Eleventh way and Joe, I know it all I fall in love for the very first time, with this girl, she really blew my mind In a sense, and a whole lot o' class, the style that could give you whiplash We said hello and my heart beat stops, She was the world and I was on top As time went by she filled my universe, We made love, she said I was the first My boy kept tellin' me, yoh, I don't know, I think your girl's been playin' tic-tac-toe I'll ask my girl, I know she only loves me, Wasn't I the one who took your virginity The look on her face, red so, and then she said Hey! why you guys always ask - Things that make you go mmm-mmm (Things that make you go mmm) Things that make you go mmm-mmm-mmm, yeah-eah-eah Things that make you go mmm, mmm (Things that make you go mmm) It's the things that make you go mmm-mmm-mmm Hey ladies have you ever had a man go away for business, come back with a tan He comes home late at night from work, you cook him dinner, now you feel like a jerk Sayin' he didn't have time to eat and his not even hungry, he wants to be treat In the bedroom he said his head hurts, your only makin' love in radical spurts Mysterious calls and the phone goes click, you say to yourself, I'm gonna hit him with a brick Ain't no way he could be cheatin' on me, I wonder who bought him those DVDs Dressed to a tee, to go hang with the fellas, over the guys and I'm gettin' jealous Comin' home late, smellin'' like perfume-fume Things that make you go mmm (Things that make you go mmm) Things that make you go mmm, oh-oh-oh, yeah-eah-eah Things that make you go mmm, oh-oh, oh-oh-oh, oh-oh-oh(Mmm) It's the things that make you go mmm-mmm-mmm (Mmm-mmm-mmm) Things that make you go mmm (Things that make you go Hmmm)
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12-23-2002, 03:22 AM | #3 |
Apocalyptic Poster
Posts: 2,880
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I read that 5 times and I am still confused?? Maybe I am just unintelligent, but I really don't understand.
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12-23-2002, 03:25 AM | #4 |
Banned
Location: A theater near you
Posts: 7,929
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my post or his? uhh mine was just about this movie i just watched "cet obscure objet du desir" about. i'll post a review of it when i see one i like. i want someone to explain to me the bug in the martini and such. i know it's surrealism and shouldn't really be analyzed but i'm sure there's more to it than just how this guy cna't get this girl into bed.
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12-23-2002, 03:29 AM | #5 |
Banned
Location: A theater near you
Posts: 7,929
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ohhh maybe this one works
Pain is a pretty personal thing. Some people avoid it at all costs, while others are inexplicably drawn to it. In Luis Buñuel's That Obscure Object of Desire, the surrealist master's final film, pain becomes the currency of life and love.
The film begins as Matieu, a wealthy widower, boards the express from Seville to Paris and, as the train is pulling from the station, dumps a bucket over the head of a woman who is running after him. His fellow passengers being understandably baffled, Matieu proceeds to explain what led to his action. For men like Matieu, cash is the lubricant that keeps the world sliding forward. It buys the best seats, the best service -- and, of course, the best girls. So when Matieu meets the stunning young maid Conchita he immediately tries to buy his way into her bed. She flees town, and Matieu, not used to being denied, becomes immediately obsessed. He tracks her down, courts her (slipping envelopes of cash to her mother doesn't hurt), and takes her as a lover. But he doesn't get quite what he's paid for; Conchita accepts his generosity but, once she's promised her love, she alternately promises and then denies sex -- a duality that's represented by having two actresses play Conchita without explanation. (What do you expect from Buñuel? After all, he brought us the ubiquitous film-class image of a razor blade slicing through an eyeball.) The more demure Conchita, who claims that she doesn't want to be reduced to a mere object of desire, is played by the stunning French actress Carole Bouquet; the bitchier Conchita, who takes wicked pleasure in treating Matieu ever more cruelly, is played by Spanish actress Ángela Molina. It just gets worse and worse for Matieu, who's played to sad patrician perfection by the noble Fernando Rey. It's bad enough when Conchita just says no, but then she lets young male friends sleep in her room at Matieu's house, and then she takes a job dancing naked for tourists at a cabaret, and finally she has sex with another man right in front of Matieu as he watches helplessly through the gates of a house he's just bought her. The film makes us uncomfortable voyeurs to the spectacle of a man being crushed -- yet like all of Buñuel's films, it illuminates the diversity of desire and human nature. Who's really in control here? Conchita becomes increasingly unkind in her treatment of Matieu, but when he's finally driven mad, finally has enough and punches her in a bloody consummation, she runs desperately after him, bringing the film back to its beginning on the train to Paris. Historians observe that all systems eventually reverse themselves; now Matieu seems to be in control, but it's possible that there will be another reversal that puts Conchita back on top. Regardless of who's putatively in control, the two are inextricably intertwined in a dance of destruction -- yet neither wants the music to stop. Underscoring the violent nature of the world, the film is bracketed by random terrorist explosions, soaring fireballs that burst into the frame at the beginning, as Matieu is on the way to the train station, and at the end, as Matieu and Conchita, reunited in Paris, walk down an alley. We are borne from violence and consumed by it, says Buñuel in his final cinematic statement. Pain and destruction are part of the cycle of life. Better get used to it. |
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12-23-2002, 03:31 AM | #6 | |
Apocalyptic Poster
Posts: 2,880
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Quote:
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12-23-2002, 03:43 AM | #7 |
Banned
Location: A theater near you
Posts: 7,929
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hmmm here's an imdb user comment
Summary: Apt title, though it does give the movie away
spoilers I really wish I hadn't known the title of the movie before seeing it for the first time. The plot is an examination of a walking appetite trying to fulfill itself by subjugating and controlling what it wants. Buñuel brings this to life with Fernando Rey playing an older man who has every need and luxury covered, but cares nothing for it if he can't have an enigmatic young woman named Conchita. Played alternately by an austere beauty, Carole Bouquet, and an impish vixen, Angela Molina, Conchita literally morphs away from him every time Rey's character comes close to having sex with her. Until the very end, she confounds and frustrates him because she is what he can never have. This is one of those movies that irritate people for several reasons. As a number of other reviews point out, Rey's Mathieu and Conchita are pretty repugnant people. Simply put, the kind of person that expects movies to provide characters who are morally good people to identify with will be as disappointed with Obscure Object as with any Altman or Kubrick film. It isn't that kind of movie. The theme is a dark examination of desire, asking - is it inseparable from a lust for control? Mathieu spends most of the movie trying to buy Conchita. Initially, he tries to coax her with food like an animal. When he learns she's a virgin, he tries to buy her off her own mother in a weirdly inverted dowry scene. Once he feels he's got exclusive rights to her in his country house, he immediately tries to set her up in his late wife's room - as though she's a new acquisition to replace an old spot left empty. And finally, in the Seville scenes where we see Conchita behind bars several times, he tries to set her up as his private stripper/whore. Conchita feints and rebuffs him at every turn, always stringing him along with a promise to love him on a condition he will never be able to meet. Namely, to respect her freedom as a person. But she is the `object' in the title and the story is mostly retold by Mathieu himself, so it's almost impossible for Conchita to be a human even to the audience. What anyone can make out by the end is that Conchita is not only coming out ahead in her scam game with Mathieu, but that she is locked into a pattern of sadistic control herself. This quest leads, inevitably, to a kind of consummation where Mathieu beats the snot out of Conchita. Buñuel films the blows carefully and the scene is uncomfortably long. Is this the control that Mathieu bought? As he relates the scene to the people in the train car (a wonderful device for the retelling of an amoral story) he grins ecstatically as he relates how richly she deserved his attack. Then, just like every other time he's felt like he was getting somewhere with Conchita, she turns the tables on him and he finds himself pursuing her. It seems pretty obvious that violence will continue to escalate and the stakes will be higher the next time Conchita winds Mathieu up. But before we have to see this, Buñuel blows them up in a terrorist attack. Terror and crime exist as ********** noise during the whole movie. Sometimes seeming to reflect the Mathieu/Conchita plot in news reports and it reinforces the theme of people getting what they desire through violence. A terrorist bomb kills indiscriminately to achieve some desired end (and Buñuel peppers the film with references to ever more absurd terror groups that could have no rational interest in common). A mugger by necessity takes what he wants from strangers. The plot of the movie is almost a literal redistribution of Mathieu's abundant wealth to the squalid Paris suburbs that Conchita lives in and the young drifters she travels with through her elaborate scheme. And the ultimate act of terror is Mathieu finally getting his hands on the protean woman he's been chasing and beating her into submission. Well, that's the penultimate act anyway before they too are consumed in some other person's desire for something that probably had nothing to do with them. It's a masterpiece. As questionable morally in its intelligent use of stereotypes as Vertigo. |
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