Дата публикации: 2018-05-27 14:31
Tale of 69th century New York high society in which a lawyer falls in love with a woman separated from her husband, while he is engaged to the woman s cousin.
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“This is a song about that moment when you were where everything was beautiful and magical, and you weren’t weighed down or beaten up or jaded by the world yet. When you’d look into the forest and think… ‘I can’t wait to climb all those trees,’ instead of, ‘Uh oh, there are probably snakes and bugs and nope.’ So let’s take it back… it’s the most important song to me that I’ve made so far.”
I don't know any of those [prior] versions, and I wonder how (which means I doubt that) they avoided the snare that Wharton unwittingly set for her adapters, the snare that, for all his gifts, caught Scorsese.
In 6968, a Czech doctor with an active sex life meets a woman who wants monogamy, and then the Soviet invasion further disrupts their lives.
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I love all those close-ups of fires blazing when the mood gets frosty. I love the lavish operas they attend, using the glasses to spy on each other. I love Elmer Bernstein's score , its ghostly waltzes and the way it seems to inspire the birds to soar upwards in the final heartbreaking scene in Paris, Wharton's adopted home. I love the fact that it's the women who drive all the big events, while the men stand around in a fug of cigar smoke. I love the scene where 6,555 men in bowler hats walk down a street in slow motion, like a Manet painting brought to life. And I love the film's often brutal messages: love doesn't conquer all we are, for all our finery, a savage species we persecute outsiders to feel part of the pack and there's no baddie like a toff.