I have sprayed you into my eyes

Indochina, Capa jumps Jeep, two feet creep up the road 

To photo, to record meat lumps and war, 

They advance as does his chance – very yellow white flash. 

A violent wrench grips mass, rips light, tears limbs like rags, 

Burst so high finally Capa lands, 

Mine is a watery pit. Painless with immense distance 

From medic from colleague, friend, enemy, foe, 

him five yards from his leg,

 From you Taro. 

Do not spray into eyes – I have sprayed you into my eyes. 

3:10 pm, Capa pends death, quivers, last rattles, last chokes 

All colours and cares glaze to grey, shrivelled and stricken to dots, 

Left hand grasps what the body grasps not – le photographe est mort. 

3.1415, alive no longer my amour, faded for home May of ‘54 

Doors open like arms my love, Painless with a great closeness 

To Capa, to Capa Capa dark after nothing, 

re-united with his leg and with you, Taro. 

Do not spray into eyes – I have sprayed you into my eyes. 

Hey Taro!

Taro

Alt-J (∆) 

Tom Hiddleston and Hayley Atwell are going to play Robert Capa and Gerda Taro and it just seems so right to me. I'm preparing myself for a beautiful movie, and a lot of tears of course.

Poet's corner n. 13

"Oh, happy time of youthful lovers, (thus 

The story might begin,) oh, balmy time, 

In which a love-knot, on a lady's brow, 

Is fairer than the fairest star in Heaven! 

To such inheritance of blessed fancy

          (Fancy that sports more desperately with minds

          Than ever fortune hath been known to do)

          The high-born Vaudracour was brought, by years

          Whose progress had a little overstepped

          His stripling prime. A town of small repute,                

          Among the vine-clad mountains of Auvergne,

          Was the Youth's birth-place. There he wooed a Maid

          Who heard the heart-felt music of his suit

          With answering vows. 

[...]And, in their happiest moments, not content,

 If more divided than a sportive pair

          Of sea-fowl, conscious both that they are hovering

          Within the eddy of a common blast,

          Or hidden only by the concave depth

          Of neighbouring billows from each other's sight.

            Thus, not without concurrence of an age                   

          Unknown to memory, was an earnest given

          By ready nature for a life of love,

          For endless constancy, and placid truth;

          But whatsoe'er of such rare treasure lay

          Reserved, had fate permitted, for support

          Of their maturer years, his present mind

          Was under fascination;--he beheld

          A vision, and adored the thing he saw.

          Arabian fiction never filled the world

          With half the wonders that were wrought for him.            

          Earth breathed in one great presence of the spring;

          Life turned the meanest of her implements,

          Before his eyes, to price above all gold;

          The house she dwelt in was a sainted shrine;

          Her chamber-window did surpass in glory

          The portals of the dawn; all paradise

          Could, by the simple opening of a door,

          Let itself in upon him:--pathways, walks,

          Swarmed with enchantment, till his spirit sank,

          Surcharged, within him, overblest to move                   

          Beneath a sun that wakes a weary world

          To its dull round of ordinary cares;

          A man too happy for mortality!"

William Wordsworth

Vandracour and Julia

Now there's green light in my eyes

Ever since I was a child

I’ve turned it all in my mind

I sang by the piano,

tore my yellow dress and

Cried and cried and cried

I don’t wanna see what I’ve seen,

To undo what has been done

Turn off all the lights, let the morning come, come

Now there's green light in my eyes,

And my lover of my mind,

And I sing from the Piano,

Tear my yellow dress and,

Cry and cry, cry,

Over the love of youth

All this champagne drunken home

Against the current of old.

Everybody see I love him

Cause it’s a feeling that you get

When the afternoon is set on the bridge into the city

I don’t wanna see what I’ve seen,

To undo what has been done

Turn off all the lights, let the morning come

Now there's green light in my eyes,

And my lover of my mind,

And I sing from the Piano,

Tear my yellow dress and,

Cry and cry, cry

'Cause you’re a hard soul to save, with an ocean in the way

But I’ll get around it

I’ll get around it

'Cause you’re a hard soul to save, with an ocean in the way

But I’ll get around it

Now there's green light in my eyes,

And my lover of my mind,

And I sing from the Piano,

Tear my yellow dress and,

Cry and cry, cry,

Over the love of youth.

Cry and cry, cry,

Over the love you,

Cry and cry , cry,

Over the love of youth,

Cry and cry , cry,

Over the love of youth,

I can see the green light,

I can see it in Your eyes

I can see the green light,

I can See it in your eyes

I can see the green light,

I can See it in your eyes

I can see the green light,

I can See it in your eyes.

Over The Love

Florence + The Machine 

"Gatsby?What Gatsby?"

I have a feeling that Luhrmann's Gatsby is going to be AMAZING.

Hitchcock

"I'm just a man hiding in the corner, with a camera... watching." 

Il Lincoln di Spielberg e la Marilyn di Simon Curtis ci avevano già tratto in inganno, eppure il meccanismo continua a ripetersi: lavorare sulla biografia di personaggio immortale puntando i riflettori su un evento fondamentale che possa farsi summa della sua personalità sembra all'apparenza un lavoro più semplice rispetto alla trasposizione sullo schermo di un'intera vita, ma il rischio di caricare gli eventi di un peso eccessivo e forzare la mano è sempre dietro l'angolo: scelto da Sasha Gervasi come suo esordio alla regia di un soggetto di finzione dopo una prova documentaristica, Hitchcock prende in prestito il titolo dal suo eponimo protagonista ma abbandona immediatamente la via del biopic tradizionale optando per  un più gustoso backstage sulla lavorazione di Psycho, uno dei suoi capolavori più discussi e amati, ma anche e soprattutto del suo rapporto con la moglie Alma Reville, sodalizio privato e professionale che vede la donna in un ruolo determinante non solo per la carriera e le scelte di Hitch ma anche per la materiale realizzazione dei suoi film; la ricetta è gustosa per qualunque cinefilo ansioso di scoprire dettagli e curiosità inedite su un regista fondamentale e su una delle pietre miliari della storia del cinema, ma perde inevitabilmente di sapore quando lascia terreno alla crisi coniugale e al zoppicante tentativo di filtrare i turbamenti e le ossessioni di una vita attraverso un'unica opera del Maestro.

The Perks of being a Wallflower

"We accept the love we think we deserve."

Sulla carta, The Perks of being a Wallflower non prometteva di regalare particolari soddisfazioni: lasciare che  Stephen Chbosky, autore dell'omonimo romanzo tradotto in Italia col titolo "Ragazzo da Parete", sceneggiasse e addirittura dirigesse la trasposizione cinematografica della sua creatura non sembrava una scelta particolarmente oculata data l'inevitabile influenza esercitata dal testo e il fallimentare risultato registrato da altri colleghi ( David Nicholls e il suo One Day il più recente), per non parlare del tentativo di proporre il puro e semplice racconto di un'adolescenza travagliata ad un pubblico di giovani che distratto dalle tantissime saghe young adult affermatesi negli ultimi anni non sembra troppo ben disposto a leggere Salinger o a recuperare i lavori di John Hughes; Noi Siamo Infinito( questo il tremendo titolo italiano, con buona pace della citazione da cui è tratto) riesce però a mescolare il sapore nostalgico per un tipo di cinema che sembrava aver fatto il suo tempo coi colori di una storia triste e amara, ma che gestita con delicatezza e grazia è  pronta a entrarti nel cuore e crescerti dentro scrutandoti come uno specchio, in cerca di memorie e sentimenti che pensavi di aver chiuso per sempre in un cassetto e che invece nel bene e nel male non ti lasceranno mai.

He must. He must!

"Now he must take me in his arms. He must. He must!’ The deepest of her instincts came to the surface, from beneath layers of thought hardly known to her. She could feel his arms round her: she had in her nostrils the peculiar scent of his hair—like the scent of the skin of an apple, but very faint. ‘You must! You must!’ she said to herself. There came back to her overpoweringly the memory of their drive together and the moment, the overwhelming moment, when, climbing out of the white fog into the blinding air, she had felt the impulse of his whole body towards her and the impulse of her whole body towards him. A sudden lapse: like the momentary dream when you fall…She saw the white disk of the sun over the silver mist and behind them was the long, warm night..."

Ford Madox Ford

Parade's End

The structure of the novel is, indeed, very difficult to follow(a nightmare!), but I think I'm deeply in love with it anyway.

If I had a heart

This will never end

'Cause I want more

More, give me more

Give me more

This will never end

Cause I want more

More, give me more

Give me more

If I had a heart I could love you

If I had a voice I would sing

After the night when I wake up

I'll see what tomorrow brings

If I had a voice, I would sing

Dangling feet from window frame

Will I ever ever reach the floor?

More, give me more, give me more

Crushed and filled with all I found

Underneath and inside

Just to come around

More, give me more, give me more

If I had a heart 

Fever Ray

(Vikings Opening Titles)

You should watch Vikings. It's a beautiful series.

Viking 1x01: Rites of Passage

Per un canale di reputazione come History Channel, abbandonare il sicuro terreno documentaristico per addentrarsi in quello della finzione era un rischio notevole, ma dopo il successo della pluripremiata miniserie Hatfield & McCoys il network deve essersi sentito abbastanza sicuro da buttarsi nella mischia: scritto dalla mano esperta in historical fiction di Michael Hirst ( Elizabeth, the Tudors), Vikings unisce l’amore per la ricostruzione e l’accuratezza storica con l’esigenza di colmare le inevitabili lacune(troppo poche e incerte le fonti relative al periodo interessato) con una sensibilità per l’intrigo più squisitamente moderna; al primo episodio, il risultato è un cocktail gustoso che non riesce a esplodere subito al massimo delle sue potenzialità ma che con le sue affascinanti suggestioni promette di dare grandi soddisfazioni lungo il percorso.