» Whit Stillman

Julia Magnet does a piece on Whit Stillman's delightful trilogy (Last Days of Disco, Barcelona, Metropolitan) of social manner comedies. He is the cinematic Jane Austen for Generation X. This was only just published this winter. Seeing how these movies were made in the '90's, it makes me wonder what Stillman has been up to. Here is Phil Gyford's website dedicated to Stillman.

Some favorite lines from Barcelona:

Fred : Maybe you can clarify something for me. Since I've been, you know, waiting for the fleet to show up, I've read a lot, and...
Ted : Really?
Fred : And one of the things that keeps popping up is this about "subtext." Plays, novels, songs - they all have a "subtext," which I take to mean a hidden message or import of some kind. So subtext we know. But what do you call the message or meaning that's right there on the surface, completely open and obvious? They never talk about that. What do you call what's above the subtext?
Ted : The text.
Fred : OK, that's right, but they never talk about that.

Okay, I can't help it, here are a few more:

Ted Boynton : Positive thinking is fine in theory. But whenever I try it on a systematic basis... I end up really depressed.

And:

Marta : You seem very intelligent for an American.
Fred : Well, I'm not.

» Auden on Tolkien

Check out this, WH Auden's 1956 review of Tokien's "Return of the King." Some excerpts:

. . . Mr. Tolkien has succeeded more completely than any previous writer in this genre in using the traditional properties of the Quest, the heroic journey, the Numinous Object, the conflict between Good and Evil while at the same time satisfying our sense of historical and social reality. . . .

The battles in the Apocalypse and "Paradise Lost," for example, are hard to stomach because of the conjunction of two incompatible notions of Deity, of a God of Love who creates free beings who can reject his love and of a God of absolute Power whom none can withstand. Mr. Tolkien is not as great a writer as Milton, but in this matter he has succeeded where Milton failed.

Evil, that is, has every advantage but one-it is inferior in imagination. Good can imagine the possibility of becoming evil-hence the refusal of Gandalf and Aragorn to use the Ring-but Evil, defiantly chosen, can no longer imagine anything but itself. Sauron cannot imagine any motives except lust for domination and fear so that, when he has learned that his enemies have the Ring, the thought that they might try to destroy it never enters his head, and his eye is kept toward Gondor and away from Mordor and the Mount of Doom.