murder in the orient express

Accidentally answered the last ask privately

bettedaviseyyes : 1974, 2014

Get off my lawn with two years in one ask!

1974

Chinatown: Two of best actors from American New Wave (Nicholson & Dunaway) Always been a fan of noir and this neo-noir was great. This should have beat Godfather 2 for best picture.

Murder on the Orient Express: Great all-star cast, Sidney Lumet did a great job using each one of those stars, topped by an almost unrecognizable Albert Finney.

A Woman Under the Influence: Favorite performance by an actress ever courtesy of Gena Rowlands. The things John Cassavetes does and ideas portrayed are little ahead of its time. All the praise in the world. Impossible not to feel or understand Gena’s character. Peter Falk was cool too.

Honorable Mentions: Alice Doesn’t Live Here Anymore, The Conversation, Lenny, Godfather 2, Taking of Pelham Uno Dos Tres, The Towering Inferno, Young Frankenstein

2014

Birdman: Brillant existential film, that blend fiction with (possible?) reality. Michael Keaton’s performance of his career, Edward Norton was an awesome asshole. Love the inferred commentary on how hollywood is dominated, at least during Spring and Summer by superhero films instead of original content. Runs parallel to Keaton and his Batman which revamped the superhero genre (along with first X-Men I guess) and making franchises out of them. Love the writing, how it was shot as if it was one continuous take like how Hitchcock did in “Rope”.

Grand Budapest Hotel: 2nd consecutive great film by Wes Anderson. Featuring a young protagonist again. Ralph Fiennes most awesome role in a long time no? The set designs and color were out of this world. Cinema is Wes’s palette.

The One I Love: Like the two above, and maybe more so than those two, this one had the most original plot I’ve seen in years. The hidden gem of 2014. Watch it everyone, its on Netflix!

Honorable Mentions: Whiplash, Frank, Obvious Child, Non-Stop (didn’t expect to like it as much as I did, holy shit), Chef, Captain America: Winter Soldier, Godzilla, The Rover, Foxcatcher, 22 Jump Street, Edge of Tomorrow, Nightcrawler, Top Five, Gone Girl, St. Vincent, Interstellar, A Most Violent Year, Selma

anonymous asked:

If you have time and you love detective stories as well as I, read "The Murder of Roger Ackroyd" or "Murder on the Orient Express" by Agatha Christie. In my opinion, this is the best detective stories in the world :)

I’ll check them out, thank you😊😄

focusas asked:

Murder on the Orient Express AU. Sokka as Poirot. Ozai or Zhao as Ratchett. The rest of 13 suspect can be hard to place correctly in their places so i leave then without names. Zuko, Azula, Kuei, Hakoda, Long Feng, Iroh, Katara, Song, Jin, Bato, Lao Beifong, Poppy Beifong, Pakku. Yue as Daisy Armstrong.

Huh… I guess it could be done, but I suppose it wouldn’t go down the Sokkla lane for good unless you deviate from the original a bit, huh? xD still, it could be done. Sokka suits the detective role, though he’d probably be a little clumsy at it, I think… at least, he wouldn’t figure things out right off the bat, I guess he’d have a few missteps here or there.

Anyhow, it could be made to work, if you really want to try it. In all honesty, practically any AU/crossover could work if you give it proper thought.

Forgotten originality?

The antagonism between the Occident and the Orient is deeply-rooted in the European culture code and history, resulting in a still functioning demonisation of the East by the West and idealisation of the West by the East. The existing animosity has its roots in the split of the Roman Empire, back in 395, when the European history started to have a twofold narrative. In the official and dominant Western narrative, East stands for a synonym of a mystery, wilderness, irrationalism, barbarism and stagnation whereas West perceives itself as a symbol of rationalism, progress, civilisation.

The mysterious and fascinating East marks its presence in literature, cinema and music. In the 1897 Bram Stoker’s novel Dracula, Count Dracula is the Eastern European vampire, coming to London from Transylvania, a historic and enigmatic region of Romania. In 1934 Murder on the Orient Express written by Agatha Christie, the train is stopped by a snowdrift near Vinkovci (now East of Croatia), where the crime is also committed. In 1951 adaptation of Tennessee Williams’ Streetcar Named Desire, Stanley Kowalski, the character played by Marlon Brando says to Blanche DuBois: Don’t you ever talk that way to me. ‘Pig,’ ‘Pollack,’ ‘disgusting,’ ‘vulgar,’ ‘greasy’, (an interesting set of “tags”) when his wife Stella explains Stanley’s violent temper through Polish origins. In 1988 music video for Never Tear Us Apart performed by the Australian rock band INXS, its leader, Michael Hutchence is singing in the streets of Prague, depicted as both scary and fascinating.

These four different examples, four complimentary pieces, are forming the image of the East in a Western narrative. There is East embodied in a vampire who’s both frighting and fascinating (the INXS’ music video shows this ambiguity in perceiving the East very well), there is an imagined, desolated and mysterious East, a perfect crime scenery, and finally there is Easterness understood as an uncouthness. The patronisation of the Eastern Europe by the Western Europe has a lot in common with the notion of orientalism explored in Edward W. Said 1977 book Orientalism. As he states: Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient—dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating, restructuring, and having authority over the Orient. When assuming that orientalism is a proper term to describe the West – East relation then, taking the Eastern point of view, the results of this rivalry are twofold, as the conflict has both cultural (okcydentalizm) and social (post-colonialism) impact.

Okcydentalizm is a Polish notion deriving from the Latin word occidentalis meaning west. The term describes the interest in Western civilisation expressed by the Eastern European countries and often a willingness to adapt the native culture to the Western standards. In her book Niesamowita Slowianszczyzna, a Polish author Maria Janion, uses the expression forgotten originality to emphasise the significance of a Slavic mythology in Polish Romanticism. For me forgotten originality is like a repetitive pattern that keeps re-appearing in our culture, boldly marking its presence after the 1989 economic transition. Never has the desire to become recognised as a part of the Occident been so strong. The pre-1989, communist past was condemned and erased, leaving us with an immense, unidentified gap in our history (1945–1989), as if those years never existed.

The social repercussions of the orientalism can be identified as a post-colonial trauma. There is no exaggeration in saying that the Second World countries were colonised by the West with a brutal introduction of the neoliberal capitalism and all the strings attached to it. As the highly-anticipated economic miracle didn’t happen, it left us with a feeling of not-being-quite-good-enough compared to the affluent West of Europe.

To use the words of a Polish Romantic writer, Zorian Dolega Chodakowski, as a result of our pursuit to become a part of the Western civilisation we ended up being strangers to ourselves.

On the other hand, the desire to become recognised as a part of the West is questioned by the presence of Polish myths and concepts of identity such as Sarmatism, Christ of nations and Borderlands. Here the emphasis is put either on a cultural uniqueness (Sarmatism) or a conviction that Poland, suffering for other countries’ doings, is destined to rescue and lead Europe into brighter future (Christ of nations concept, deriving from the 19th century – Partitions period). Borderlands concept refers to a vast part of the territory in the East, colonised by Poland and lost after the WWII.

The juxtaposition of the Polish myths with the results of okcydentalizm and post-colonialism creates a schizophrenic realm, where one can only choose between two, very extreme concepts of identity. What does it mean to be Polish? What does it mean to be Polish abroad? How do I identify myself outside my country? Who are we and where are we now? Is there a third path to follow? I believe there is, however it seems as the most painful one. It requires us to revise our myths and concepts, deal with our past.  Analyse the here and now and ask relevant questions, with a small chance of getting the right answers.