Medicine of Immortality "It's a cold, and it's a broken, 'Hallelujah!'"

Posted by Rick on April 27th, 2002

I am 17% CANADIAN (Take the Canadian-ness test)

Posted by Rick on April 26th, 2002

I think this line from “Come What May” is great:

“I never knew I could feel like this, like I’ve never seen the sky before.”

Have you ever had that feeling? You walk outside, and it is like you’ve never seen the sky before. It’s a great feeling. I think that’s a great way to express his feelings. Okay, sappy moment finished.

Posted by Rick on April 25th, 2002

Okay so I finally read that article by Doug Jones on Moulin Rouge. It’s kinda weird because when someone asked me what I thought about it right after I had watched it, I said, “Eurydice meets La Dame aux camelias meets Baz Luhrmann.” Jones brought up both of those. Kinda silly. Okay, so I noticed Jones said the same thing about Satine. I am wondering if this is just a trick of postmodernism…like something out of Nabokov’s Lolita(which by the way is THE most beautiful prose I’ve ever seen…too bad it is perverse) or Pynchon’s The Crying of Lot 49...where names can mean something or be dead ends. I think Jones hits it head on right here:

Notice the contrasts: instead of a virtuous Eurydice bitten by a snake, Moulin Rouge has a corrupted, used, immoral Satine coughing up blood from her consumptive life in the underworld; the Orphean myth (and the Greek mind) knows nothing of sin. In the tale of Orpheus, Eurydice experiences no conversion, but Satine does. Instead of the music of Orpheus, knowable only by its effects, we have a man of the written word singing specifically about love, a simple but pure and eternal love, a magical message that turns out to be much more powerful than a selfish romanticism can bear. And instead of traipsing along like the passive Eurydice, Satine ends up denying herself, sacrificing romantic attachment to Christian in order to save him from death; the Orphean myth knows nothing of self-sacrifice, only petty death.