As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”
(Source: oldfilmsflicker, via you-refromanothertime)
“Let me tell ya something. Nowadays, everybody’s gotta go to shrinks, and counselors, and go on “Sally Jessy Raphael” and talk about their problems.
What happened to Gary Cooper? The strong, silent type. That was an American. He wasn’t in touch with his feelings. He just did what he had to do.
See, what they didn’t know was once they got Gary Cooper in touch with his feelings that they wouldn’t be able to shut him up! And then it’s dysfunction this, and dysfunction that, and dysfunction ma fangul!”
- Tony Soprano
(Source: corcorannyc)
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Hear that? That’s Sergeant Donny Donowitz. You might know him better by his nickname.
(Source: johnsturturro, via crazyaboutfilm)
(Source: futurastic, via crazyaboutfilm)
It’s about time. We got out.
(via pastelchainsaw)
