the 1995 version of "Sabrina," which was surprisingly lovely; I think I enjoy it more on a fundamental level than I do the 1955 version,
My very favorite moment from that version: when Linus asks Sabrina about the meaning of her name, and she says that it's from a favorite poem (memfault: or possibly ballad, or story?) of her mother's, about a virgin and a water-nymph who saves her from a fate worse than death. "And Sabrina's the virgin?" Linus says. And formerly shy Sabrina meets his eyes squarely and raises her chin and says calmly, "Sabrina's the savior."
I so badly need to see
Sense and Sensibility
again; it's been two or three years at least.
I love the end of Sense and Sensibility, when Elinor finds out that the Hugh Grant character is not married, as she'd been led to believe, and the stalwart rock of the family just falls apart, blubbering in front of him, and her mother and sisters flee outside to spy through the window.
Wait - fainting sheep?
Why don't I remember them?
It's a story Emma Thompson tells in the commentary.
I have the book of the script and Thompson's commentary on the making of Sense and Sensibility, and it is an absolute delight. There's a passage where she talks about writing in a kiss between her and Hugh Grant, and she says that she felt quite justified in putting that in there, as Jane Austen would have no doubt wanted to snog Hugh Grant.
You should definitely check out some other Wong Kar Wei, especially Chungking Express.
I checked it and "In the Mood for Love" out from the library, but I don't have the attention span right now for subtitles. Maybe when I get back to England.
"And Sabrina's the virgin?" Linus says. And formerly shy Sabrina meets his eyes squarely and raises her chin and says calmly, "Sabrina's the savior."
Yes, that's really lovely. I enjoyed so much the updated touches that showed how much forty years had changed things--Maude Larrabee being in charge of the company, David's fiancee being a paediatrician, Sabrina becoming a photographer, her father having a stock portfolio and remarrying. It was just so well crafted, taking the core of the story and making it workable for a modern audience. Also I felt that Ormond-Ford was somehow less May-December than Bogart-Hepburn.
I love the end of Sense and Sensibility, when Elinor finds out that the Hugh Grant character is not married, as she'd been led to believe, and the stalwart rock of the family just falls apart, blubbering in front of him, and her mother and sisters flee outside to spy through the window.
Oh, yes! Just that wracking sob that escapes her as much as she tries to reign it in. It was all so understated and lovely, while still being totally relateable. And oh my sweet lord, I want to do bad, bad things to Alan Rickman.
Speaking of people who were hot when they were younger, Gary Oldman in R&G are Dead was just delectable. So adorable and puppy faced!
And speaking of naked, I just watched the Thomas Crown Affair. Whoo boy, there is a lot of naked in that movie. It's a very sexy film.
And now watching "Top Gun," which is both funny *and* insanely homoerotic. Haven't seen this one in years.
Speaking of people who were hot when they were younger, Gary Oldman in R&G are Dead was just delectable. So adorable and puppy faced!
Oh my god, I had to go see this movie twice in the theatre because the first time, my friends and I were laughing so hard we missed some parts. Ah, Gary Oldman, before the boozing went really bad, was very hot, then he got kind of gross. I have to say, I was always a Tim Roth girl. But where is he? I can't think of the last time I saw him in a film.
Ah, Gary Oldman, before the boozing went really bad, was very hot,
Oh, I thought he was very dashing as Sirius in OotP.
