2nd veiwing better?


Just watched the master for the second time (first was about 6 months ago).
& have to say i find the second viewing sits easier and is a lot more (not going to say enjoyable)Interesting (in a good way). Just wondering has anyone else found this & if so anyone seem to have any reasons/theories why

I felt alot more empathy towards freddies character in this viewing & felt PSH character was manipulating his family, friends & followers alot more than i realised in the first viewing.....Any thoughts?

"Jar Jar binks makes the ewoks look like *beep* Shaft!!!"- spaced

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Just about everyone who has taken the time to see this more than once has felt as you do.
It'a rich, layered film that rewards a repeat viewing.



"a malcontent who knows how to spell"


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The 2nd viewing was pretty mind-blowing for me. This is just one of those films that needs time to percolate. Very emotional and subtle. Now it's my favorite of 2012.


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this is a piece of crap of a movie, the second time was much worse for me, but what made me do it is my interest in l ron hubbard, i suspected but wasn't sure the movie was about him the first time.

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Idiots expected The Master to be a history lesson about L. Ron Hubbard and of course were disappointed.

This accounts for the fact that its underrated on this site. I guarantee you that Yusef doesn't even get what he watched.


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actually this piece of crap is way overrated on this site. the director anderson has a very disgusting vision of the world, that was clear enough in his master piece of disgusting crap, magnolia. no human with class can tolerate this filth. i got what i watched you idiot, you won't teach me any thing. i can adjust all works of surrealism, magical realism, and postmodernism. but what i get best is a piece of crap of an artist who put a toilet seat in the mid of a gallery and expect idiots like him to wow his butt crap!

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[deleted]

i didn't say that anderson is post modern or modernist, i said he's a piece of crap. and the amusing person is you when you describe freddie as dignity and triumph of human spirit when he's nothing but a stupid aggressive worthless insect. but i guess that a worm would be queen among insects. i don't mind idiots free of speech but that doesn't make it worthy of hearing and certainly shouldn't be considered by intelligent humans as art. i'm a south park fan, so anderson can't shock me with any thing but his stupidity and lack of taste. like ornofsky he deliberately try to threw his crappy vision into your face. these idiots didn't make anything new, every thing they do with bad taste, kubrick could have done with supreme elegance. a low life like freddie shouldn't exist in the world in the first place rather than being considered as a triumph of human spirit.

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you have a big misreading of every thing, it's most clear when you speak about clock work, because you exactly bring the dump british public reading of the movie that forced kubrick to take it off the theaters in Britain.

why do you think that a screwed up guy like freddy is free from dodd or from any thing! the words freedom and dignity do not apply to pieces of crap (you call characters or humans) like freddie. you should have listened carefully to dodd's last statement about masters. do you think that dodd was the master? no way, it was his wife.

yes there was wonderful scenes in the master, great acting, very interesting subject, but the movie doesn't worth for me more than a cake in a pile of dog crap, yes some people might clean it up and eat it, i won't. any movie is a combination of several art forms of photography, story, poetry, music, and acting. it needs perfect balance.

magnolia was a piece of garbage that i couldn't finish and won't dignify it with a word, but the master had a great potential. same thing i would say about ornofsky's pi that had great potential on contrary of his piece of crap, black swan. the guy of three colors did a breath taking work on blue's photography but with crap of a story and characters (intentionally to symbolize freedom without equality and brotherhood) i only hate when i find a lost chance of a great work, most of the time i despise and ignore.

south park won an emmie for an episode called raising the bar, it talked about how the popular american culture is sinking to the most disgusting levels of careless pig crap thrown at people in tv and cinemas. in a touching part they even question wither south park itself is partly responsible for this. of course i disagree as much as i disagree that clock work orange or natural born killers are responsible for the murders they inspired. artists are not responsible for stupid misreadings as much as god is not responsible for miss reading of his sacred books. for sure people like anderson and ornofsky were not inspired by south park but by over rated crap of people like fellini in eight and ahalf and the city of women, and possibly ingmar bergman in autumn sonata.

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Ok, you're fairly verbose about what you dislike. Maybe name a film you consider good for a change, so that we can get a more concrete idea about the angle you're actually coming from.

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i have a whole list back in my profile.

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Right, thanks. I've taken a brief look at both of your lists, and while you may consider me a supporter of your assessment in the case of Anderson's films I guess that's rather accidental. Seeing ratings like 1 for 81/2 and 10 for Eyes Wide Shut for example, I trust you don't mind me preferring to leave it at that.

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i know my ratings can be the opposite of the critics most of the time, but i can defend that when i have time. eyes wide shut was slaughtered by critics for deep political reasons that wasn't told, on the other hand fellini easily fooled european critics with marxists cleches, and every one else by telling them the truth in the movie itself that the movie is a piece of crap expecting them not to believe him.

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Well, just to be sure, I give a flying fock about critics myself, and awards just the same. It wasn't about that.

Also, please note that the "marxists" didn't applaud 81/2 at all, for obvious reasons. Fact is, they condemned La Strada already for its departure from neo-realistic conventions. Much more 81/2 of course, which - as a rather personal film about a film-maker in a crisis - is pretty much fully detached from anything political. This just as a side-note, for the sake of a better argument for why your opinion might be differing from many others.

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well i'm not sure about that, it was just a guess, but surely i didn't mean the stalinist marxists but the trotskians and the existentialists, there was a "progressive" stand in this movie on women, and some bourgeoisie condemnation thrown here and there. without forgetting the peace stuff and hate for nuclear bomb and preparing to evacuate earth by the end.

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besides i have a very different evaluating technique i developed as a college teacher, when i discovered that it's impossible to evaluate my students essays accurately by counting beans technique. for example 8 1/2 has a great camera work, interesting management of massive actors, several interesting scenes, originality in approach, all this doesn't worth anything for me and won't give the movie any additional points. since a movie is a very complex art form of many art forms combined together with several artists work together. if the total out come is boring, unwatchable, you feel you want to shout to end this stupid circus, the movie hardly deserve one star in this case.

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Sorry, but what you say doesn't make a lick of sense.

First off, you claimed that 81/2 received high ratings because "fellini easily fooled european critics with marxists cleches", and when reminded that marxists generally disapproved of Fellini's films your response was "i didn't mean the stalinist marxists but the trotskians and the existentialists". So, while existentialism doesn't equate to marxism in any way to begin with, we're now also expected to assume that the majority of critics in the western world leaned towards "trotskian marxism" back then as opposed to "stalinist marxism", and that 81/2 touted cliches of the former kind only as to appeal to those critics? Frankly, a proposition that can be considered laughable at best, and this not only because its based on an utter misreading of Fellinis views and intentions.

Next, you claim that you were/are a "college teacher", and that in this position you found that "counting beans" wasn't a good "evaluation technique" when trying to appraise your students' essays. Telling us this to defend how you gave 81/2 a 1 rating in an either-or manner, despite some of its merits even you are willing to acknowledge, and gave a rather mediocre film like Eyes Wide Shut a 10. But what do you suggest, to replace the grading system with a "pass or fail" approach? If so, then how would that approach do justice to students who passed with excellence as opposed to those who barely passed? Or to those who barely failed as opposed to those who utterly failed? Again, there isn't any sense at all in what you say, just as there isn't any in the film ratings you've given there. And if you really ever were a "college teacher" I can only hope that those days are over, because you're clearly not fit for the job.

So, in conclusion, while you're technically right that the film under discussion on this board amounts to a load of steaming hot bull, it's also clear that you're probably thinking so for all the wrong reasons. In analogy to those other cases you've just made a fool out of yourself about.

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i really find it hard to discuss any thing with half educated people, i prefer the company of little children. ever heard of jean paul sartre? he's both an existentialist and a marxist. i was simply talking about non soviet or maoist marxists for god's sake. still you dodged my real points to discuss crap on the side. i don't mind you laugh with your yellow teeth, but you should at least refute the points i gave, but of course you can't.

"telling us.." why do you speak like that? do you have multiple personalities? or simply an enormous ego just like your narcissist friend fellini? i didn't suggest a pass or fail system, you did, do you refute yourself now? are you sure that your shrink never suggested a multiple personalty disorder?

in conclusion, you are stupid.

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he's both an existentialist and a marxist.

Not quite, I'm afraid. Sartre developed his existentialist views as a young man but turned marxist later in his life, due to his desire to become a political figure, at which point he disavowed his existentialist past. Then, seeing how he alienated his followers, he made an attempt at reconciling marxism and existentialism - pretty much the only person to ever try that - and failed for obvious reasons.

See, that's the amount of accuracy even "half" an education might provide you with, in contrast to your clueless ramblings.


still you dodged my real points

Seeing how I've been quoting you throughout my previous post it's hard for me to believe that. Maybe you never made a "real point" worthwhile responding to in the first place?

If you want to make a point, how about providing us with an actual example of those "marxists cleches" Fellini supposedly employed in 81/2? But then, considering how you're not in the habit of "counting beans" and rather seem to rely on bizarre summary judgments and outlandish claims to somehow support your distorted views, that's probably not the kind of point you'd like to make, is it.

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when someone makes a statement that all crows are black, and another show him a white crow then the first person's statement is refuted.

i already gave you three marxist cleches but you have a thick head, let me repeat them,

marxist feminsm, a woman depicted in the movie as a domestic slave to men cleaning, and this image is rejected by the director representing fellini.

marxist cleches of condemning bourgeois this and that, and calling someone as small bourgeois.

marxist peace propaganda and anti nuclear bomb was famous around the 1950s especially before the soviet and the chinese got their bombs but continued after that, and it was shown in the movie in the end with the escaping earth scene.

you are still saying "providing us" shouldn't you say providing me, how many are you in your head? are you possessed by demons?

i wasn't bragging about being college teacher, i despise them, and i'm ashamed of my past, a teacher who get paid to teach is a sophist but i couldn't find another decent job then. and i like the long vacations in the summer.

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MmmmmwwweeeeeeaaaaaAAAAAAAHAAAAAAAAAAAHAAAAHAHAHAHAHAHAHAHA!!!!

Jesus. Thanks for the laugh, really. For the most ludicrous post I've read in a long, long time on these boards. Very nice. But let's briefly take a look at those examples of "marxists cleches" you've given in turn.


nuclear bomb ... it was shown in the movie in the end with the escaping earth scene

Sorry, there isn't any "nuclear bomb" shown anywhere in the film. Maybe you're mixing it up with "Dr. Strangelove"? Because that film is loaded with them, suggesting - by your "logic" - that it's a profoundly marxist film. But then, is it really?

I guess not. Because a nuclear bomb may mean anything, depending on the context. Where, quite obviously, it's standing for the paranoia and trigger-happiness of some American military in "Dr. Strangelove". No "marxist cleche" at all, I'm afraid.

The same applies to 81/2. There is actually some very brief talk about a nuclear bomb to be featured in a screenplay, mid through the film. But let's look at the context, in terms of the dialog describing what's supposed to be happening in that play

"The sequence opens with an image of Earth completely destroyed by thermonuclear war and the spaceship, our new Noah's Ark, flees the atomic plague, while the rest of humanity seeks refuge on another planet."

So, that's the context. And to anybody with half a brain, it's clear that there isn't any marxist allusion or "cleche" in sight anywhere. Rather, it's an allusion to Christian symbolism and the Noachian flood in particular. Just as Fellini ironizes Christianity and the Catholic church in particular throughout 81/2 and many of his other films.

In summary, complete fail #1.


condemning bourgeois this and that, and calling someone as small bourgeois

Another example for your utter incapability of understanding the context. More precisely, the phrase "petite bourgeoise" is used by a woman playing an actress who's envious of another woman getting a part in a film. And that's where she says:

"The role doesn't suit her. She's just a petite bourgeoise with no style."

Frankly, how retarded does one have to be to understand this as marxist "condemning bourgeois this and that"? It's clearly about class and style, one actress suggesting that the other didn't have any out of envy, and as such entirely apolitical.

Complete fail #2.


marxist feminsm, a woman depicted in the movie as a domestic slave to men cleaning

That scene simply doesn't exist I'm afraid, just like your "nuclear bomb" isn't shown anywhere in the movie, as you claimed. There is a (dream) sequence where the protagonist's wife cleans the floor, true. With one man, him, being present. So a scene showing husband and wife with the wife cleaning the floor is "marxist feminsm" by your standards? Awesome.

Complete fail #3.


So, in conclusion, not only have you failed to give any valid example of "marxist cleches" employed in 81/2. But even if there had been any of the kind you mentioned, it'd obviously be a completely retarded assumption to think that the film received its high ratings thanks to those, as you previously claimed. In fact, looking back on our little discourse, I'm now suspecting that it's not merely the complete lack of comprehension skills which makes you utter such absurd statements. But that there might be some mental issues involved, too.

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first i have to mention that english is not my language so i can't be perfectly accurate specially with grammar so i need i reader with average intelligence at least to follow me, and since that doesn't apply to you, i can forgive you.

i'm very thankful to you for proving my points since there was no way i'm going to watch this piece of crap again or look for the script on the internet.

1- when i said it was shown, i wasn't referring to the bomb i was referring to the peace propaganda against nuclear bombs which was very well known marxist theme, even john lennon picked it up later in the late 1960s from his marxist wife yuko ono. so the nuclear holocaust dream by the end of the movie was strong enough to make european critics who were depicted sarcastically in the movie, drunk with joy. and actually you are smart enough to give a fourth marxist cliche which is mocking religion, and i'm sure there are much more.

2- a petite bourgeoise is a very strong marxist expression that is celebrated always by marxists.

3- i was talking about that dream scene, and of course you know that the movie is full of that crap from the very beginning to the very end so it's substantial part of the movie, actually yuo may call it the whole movie. in the scene a peasant clothed woman is shown cleaning presenting the traditional status of women, that was a subject addressed by marx himself in the "german ideology".

you're phony my little man, but lucky you i was never able to finish reading "catchers in the rye" so you have nothing to worry about.

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the nuclear holocaust dream by the end of the movie

So, in your confused mind, it's a "nuclear holocaust dream" now? Above in your last post it's been "the escaping earth scene", remember? Care to make a decision maybe?

Doesn't really matter if you do though, because it's neither anyway. The scaffold shown in the end is supposed to symbolize a launch pad for a spacecraft. And while it's been originally meant to signify escape indeed, in the end it signifies arrival - as the crowd's coming down the stairs and not walking them up - and thus reflects the protagonist's final reconciliation with his life's circumstances. No holocaust anywhere I'm afraid, but you're of course allowed to imagine some. Just don't assume your contrived fantasies had anything to do with the film.


a petite bourgeoise is a very strong marxist expression

For somebody bragging so much about his alleged "education" you seem to understand very little about how things change meaning with their context, even though I've already pointed it out to you.

Example. A snake shown in an adventure film might just stand for a deadly animal. While in a biblical film, on the other hand, it might symbolize the fall of mankind. Totally different meanings, depending on the context. Or the word "gas" might denote gasoline in one context or an actual gas, like helium, in another, Again, the difference will only become apparent when observing the context.

Same for the "petite bourgeoise". As I've already told you how the context is entirely apolitical, and how the phrase is meant to imply bad taste or little style, and nothing else. But that's obviously too difficult for you to see. Because in your locked up mind, apparently everything needs to have a political meaning no matter the intentions of the filmmaker. Just like you said that Eyes Wide Shut "was slaughtered by critics for deep political reasons", which of course is a supremely laughable proposition.


that was a subject addressed by marx himself in the "german ideology"

That's lovely but it has nothing to do with the film, I'm afraid. And while Marx probably addressed a lot of other things, too - like capital - it would be quite idiotic to see a "marxist cleche" at work each time money changes hands, wouldn't it.

Look, it's fairly obvious by now that, for you to begin understanding the film, somebody had to take your hand and walk you through each and every scene and carefully explain it to you. Yet, even then I'd doubt that the film maker's intended meaning would make it through into the confines of your thick bonce. So it's probably better to not even try.

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i'm not really sure any more if you are a mere liar or a crazy person.

you say there is no existentialist marxists, and there is jean paul sartre (liar to your face)

you say there are no political things in 8 & 1/2, and later you admit that the nuclear bomb was mentioned in the mid of the movie. (into your face)

you keep talking about my alleged education as if i care what a peace of crap like you think about me. by the way, i'm using my real name and i can lead you to the internet site of the university i was teaching in. there you can find their email, you can pretend to be an employer who received a work application from me and ask them if i worked their from 2002 to 2006. but why would i do that!! so a piece of crappy liar like you, who lie and lie and lie without a blink in his ugly face know that i'm telling the truth!!! to the hell with you.

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[deleted]

thanks for the advice, i think i just did.

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there is no existentialist marxists, and there is jean paul sartre (liar to your face)

Dear me. Frankly, you're increasingly striking me as kind of a tragic figure, seeing how your methodology and analytical skills aren't by far as well developed as you seem to think. So let's take you through it again, one tiny step after another.

First off, what you need to realize is that, when somebody has been two contradictory things in his life, it doesn't mean that he's been both at the same time. I could be healthy today and a cripple tomorrow. So in hindsight I would have been both in my life, healthy and a cripple, but never both at the same time. In particular, Sartre having been both, Existentialist and Marxist, at different points in his life doesn't mean that he's been both simultaneously. And especially doesn't it mean that the theoretical foundations of both could be unified. Which they, incidentally, can't.

Next, taking a closer look at Sartre's actual development, we see how he started out as an Existentialist under the influence of Heidegger and Husserl, and particularly so as a nonmaterialist and, as such, in direct opposition to Marxism. Then, pretty much all of a sudden, he started to embrace Marxism, at which point he denounced his earlier philosophy. Understand? He stopped being the Existentialist that he was.

Next, he still tried to introduce an existentialistic twist into Marxism - like with his book "Critique de la raison dialectique" - by trying to unify those two contradictory world views. Contradictory because, in the simplest terms, one is based on collectives and the other on the individuum. Unfortunately he failed to convince anybody with his theoretical efforts, and especially failed to convince marxist thinkers like Lukács to name an example. One reason being that Sarte based his work on Husserlian phenomenology and in consequence couldn't integrate key axioms of Marxism, like that the dynamics of history cannot be deduced from individual existence, into his theory. So to repeat: he failed at the unification of those two contradictory philosophies.

And it doesn't actually require reading and understanding his work to verify this. Just google for the both words "marxism existentialism" and you'll see that there's just one single name coming up: Sartre. None of his contemporaries or following philosophers picked up his "ideas". His work didn't evolve into a school or community promoting his latest works. It's been a dead end. And that's why the statement "Sartre was both, a Existentalist and Marxist" in the sense of "one could meaningfully be both at the same time" is plain wrong. Was that now, eventually, easy enough for you to understand?


no political things in 8 & 1/2, and later you admit that the nuclear bomb

Thermonuclear war, to be precise. And, by means of the dialog spoken in the film, this thermonuclear war is to be understood as metaphor for a Noachian flood, thus putting it into a religious rather than political context. Again, I'm amazed you can't figure that out all by yourself.

You know, not every allusion to a nuclear bomb needs to be politically motivated. Or would you see a nuclear-bomb-shaped dildo as a political symbol? But then, you probably would, wouldn't you.

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[deleted]

first i have to mention that english is not my language so i
That was obvious in your first post.

Amazing that the other guy demonstrated such patience when faced with such an obtuse pompous blowhard.

You should feel lucky that he wasted that much time conversing with someone who devolves into insults faster than a 7 year old who isn't getting the toy he wants.

Have a nice day!

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why don't you just screw your mother you piece of crap.

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It's not because I don't want to.. It's because she has passed away.

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you can always dig out her dead body

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She was cremated.

I tried it, but ashes do not create friction so it was not fulfilling.

It was a helpful suggestion though.

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how about your dad?

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yusef-ghanima ...I Totally agree with you on each of your posts about this movie but I understand how difficult it is for some people to understand they are actually drooling over an overrated movie as I also found this one to be.

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It's so weird how people rage against this movie and attack it by saying that they hated that Freddy was unlikeable. Well, to barge into a movie's message board ranting about how a movie that a lot of people liked is "crap" "not worthy of watching" etc. makes you very unlikeable.

a low life like freddie shouldn't exist in the world in the first place

Well, they do, and people much, much, much worse than him are on the planet as well. Should we not study them and attempt to understand them? A film isn't always made to condone the actions of the protagonist. Sometimes it's just to show you how you feel about them. Since you feel so angry about him being a character, there you go, the movie had an emotional effect on you, as was intended.

Also, if we don't observe and think about "bad" people, how can we ever help them (or if you see them as "unhelpable", how can we ever prevent people from becoming the way he is?

i didn't say that anderson is post modern or modernist

It's always bothered me when two people are arguing, one says something and the other goes "I didn't say that! I didn't say that!" You're right, you didn't. The other person did. Everything someone says is not necessarily a response to something you say, that's an incredibly self-centered assumption to make.

i don't mind idiots free of speech but that doesn't make it worthy of hearing

Free of speech means without speech.

I liked this movie, didn't love it. Loved Phoenix's and Adams' performances though (PSH's was very good too, but not anything special to me).

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Pardon me if I am wrong, but it seems to me that you have religious reasons for disliking the films that you do. Such as when you call Freddie an insect rather than a human being. Am I wrong?

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are you insinuating that atheists are fine with making love to their mothers, for example? i was an atheist and it wasn't that simple.

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No, I thought the reason you hated the film was that because of you religion you found the characters and their actions detestable. Also, Freddie had sex with his aunt, not his mother, but still disgusting.

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religion is not the point, the movie doesn't glorify freddie.

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Ok, it's cool. I was just getting a slightly fascist vibe from you for a second there.

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i don't recall freddie being victim of abuses but that's any way not an excuse, beethoven was and didn't turn out to be freddie or anderson. what i thought is that he was traumatized by war, although the nature of his post as boat tinkerer doesn't qualify him for serious exposure. he was the abuser of himself by being alcoholic to the extent of screwing his aunt (maybe you call that freedom, would you like him better if he screwed his mother? just an innocent fruedian question!) then he beat the hell out of at least three people, for no reason whatsoever or for childish loyalty for dodd. he's possibly a pedophile in love with a 6 or is it 10 or is it more? doris day girl. freddie is a slave to a crappy master in his terrible head, that even the evil l ron hubbard and his wife could be an improvement to his case. freddie doesn't deserve dignity and freedom because he doesn't want them and will never take them, being alcoholic is enough prison and humiliation for him, if he ever had a child it would be just another beethoven victim, he possibly could rape his own child if he found him attractive enough when he's drunk. is this what you call the triumph of the human spirit? in what way is this guy similar to the taxi driver dude? for planning to kill a politician who would probably become a mass murderer?

i didn't get into many details so i won't be miss understood. how do you see the scene of freddie screwing the sand woman and then jerking off, or tom cruze swinging his deck in magnolia, you'll say south park did the same, but in what context? how did it look? how did kubrick made the rape scenes in clock work? don't you see any difference in style? go to ornofsky's portman's masturbation scene, is it similar to the masturbating monkey in south park? there are very delicate differences between directors in how to conduct a throw up, some would disgust me, others wouldn't, not because i have a particular taste that's different from every one else, but because i do believe that there is a real difference between the directors artistic abilities. it's not a matter of up bringing, i have very different taste from my parents and sisters, but that is not a matter of individual taste for me, because i believe that you can train your taste will enough to be able to distinguish bad art from good one.

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freddie said she was too young before he left, so we can't really say how young she was. but by the standard of the filthy mind of his, he wouldn't care. "she looked good." when he's drunk.

i'm establishing the character here, and its pattern of behavior.

i don't take crappy psychologism about what people have to do, it's there choices. i already refuted that with beethoven's example. abused childhood, ptsd, what ever is never an excuse for anything.

my point is, anderson being a tasteless director is not merely by including masturbation or throwing up, or spitting blood, it's how he show it, the camera angel, the context of the movie, comedy or horror or drama. this is why i think he's disgusting while i don't find other daring directors like kubrick or tarantino or parker like this.



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[deleted]

i meant trey parker of south park, alan is great sometimes but not exactly daring. yeah lars is disgusting and get under my skin. bergman is annoying. fellini is the master of disgust in city of women. thanks for the link, i only have the commentary for 9 seasons.

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yeah I was amazed at how much easier it was to follow the second time. the first time I definitely had trouble getting through it but the second viewing everything flowed so much nicer.

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It only need a second viewing for "special" kind of ppl...the rest of us like me, loved and understood it perfectly the first and only time i watched it...

~If the realistic details fails, the movie fails~

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Sure you did. The story wasn't difficult to follow, but I think you've missed out on a lot of details that you could pick up on a second viewing. I've only seen the film once yet, but this is a fact for most movies this layered and thematically complicated.


If you want to win the lottery, first you have to make the money to buy a ticket.

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"Special"kind of ppl need to post comments like yours in order to feel superiority.Well done,you masturbated in front of a mirror.

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I enjoyed it far more on the second viewing.

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Same. It was fascinating on first viewing, but confounding due to my expectations (the baggage I brought to it). On reflection and on second viewing, I fell in love with this picture. A beautiful character study with a lot of subtle and very meaningful themes about humanity and the time period in which it's set.


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Liked it a lot more on second viewing. Almost every scene was memorable.

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