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365 Days at Peking

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La Mujer Justa

La Mujer Justa

"El amor, si es verdadero, siempre es letal. Su fin no es la felicidad, el idilio "hasta que la muerte nos separe", cogidos de la mano paseando bajo los tilos en flor, tras los cuales se vislumbra la mansa luz de la lámpara que refulge en el zaguán de la casa, que nos acoge y envuelve en sus frescos olores... Eso es la vida, pero no es el amor.

 

El amor es una llama más siniestra, más trágica. Un día se enciende el deseo de conocer esa pasión destructiva. Cuando ya no quieres nada para ti, cuando no buscas e amor para estar más sano, más tranquilo, más satisfecho, sino que solo quieres "ser", por completo y aun a costa de tu vida. Ese sentimiento llega tarde, muchos no llegan a conocerlo nunca... Son los prudentes; no me dan envidia.

 

También están los glotones, de curiosidad insaciable, que beben de cada tazón que se encuentran... Ésos son, sencillamente, lamentables. Luego los hay otros decididos y astutos, los carteristas del amor, que roban un sentimiento a la velocidad del rayo, arrancan un poco de ternura y de intimidad de los escondrijos de un cuerpo y a continuación desaparecen en la oscuridad, se pierden con una sonrisa cruel en el oscuro caos de la vida.

 

Están también los cobardes y los precavidos, que lo calculan todo, en el amor y en los negocios; tienen una agenda donde apuntan los ojetivos y los plazos de la vida sentimental y viven según esas estrictas anotaciones. La mayoría son así, unos inútiles.

 

Y por último están los pocos que un día comprenden lo que la vida quiere con el amor, lo que pretende al entregar ese sentimiento al género humano... ¿lo hace por nuestro bien? La naturaleza no es benévola. ¿Quiere ofrecernos la esperanza de la felicidad? La naturaleza no necesita tales fantasías humanas, solo quiere crear y destruir, pues ésas es su función. Es cruel porque tiene un plan bien definido y es insensible porque su plan no tiene en cuenta en absoluto al género humano. La naturaleza regala al ser humano la pasión, pero pretende que esa pasión sea incondicional."

 

Sandor Marai

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Un chico que

Un chico que

"Me atrajo de él su despiste, esa facultad inaudita de mantenerse aparte, ajeno al mundo, su despreocupación.

Hay varias clases de hombres: los que se arrojan en tus brazos; los que te quieren sólo para ellos, en exclusiva; los que se creen con derechos, pretensiones, exigencias; los que hacen como si les interesases muchísimo mientras te meten mano. Él ni siquiera intentó seducirme, atarme a él.

(…) Un chico que no te pregunta nada, porque supone la misma actitud por tu parte, promete conversaciones interesantes y silencios interminables. Un chico que no se fija en el vestido que te has puesto expresamente para él, que no te da las gracias por el regalo que le haces y olvida tu cumpleaños, rompe el aburrimiento mortal de las parejas.

Un chico que se te resiste, te hace ver claramente la irritación que suscitan a veces las chicas. A un chico que no fija jamás una cita, que no te dice nunca cuando volverá a verte, que sopla las velas de una cena de aniversario, que te ofrece sus llaves rogándote que no las utilices, que no pasa más de cuatro noches por semana contigo cuando las semanas tienen, como es sabido, siete noches, o se lo perdonas todo o echas a correr y no vuelves a verlo jamás."


Philippe Besson

La Sombra del Viento

La Sombra del Viento

Rió nerviosa.

- No sé que me ha pasado. No te ofendas, pero a veces una se siente más libre de hablarle a un extraño que a gente que conoce. ¿Por qué será? 

Me encogí de hombros.

- Probablemente porque un extraño nos ve como somos, no como quiere creer que somos.

- ¿Es eso también de tu amigo Carax?

- No, eso me lo acabo de inventar para impresionarte.

- ¿Y cómo me ves tú a mi?

- Como un misterio.

- Ése es el cumplido más raro que me han hecho nunca.

- No es un cumplido. Es una amenaza.

- ¿Y eso?

- Los misterios hay que resolverlos, averiguar qué esconden.

- A lo mejor te decepcionas al ver lo que hay dentro.

- A lo mejor me sorprendo. Y tú también. 

 

La Sombra del Viento - CARLOS RUIZ ZAFÓN

Ed. Planeta (2001)

El Beso según Maupassant

El Beso según Maupassant

Do you know whence comes our real power? From the kiss, the kiss alone! When we know how to hold out and give up our lips we can become queens.

The kiss is only a preface, however, but a charming preface. More charming than the realization itself. A preface which can always be read over again, whereas one cannot always read over the book.

Yes, the meeting of lips is the most perfect, the most divine sensation given to human beings, the supreme limit of happiness: It is in the kiss alone that one sometimes seems to feel this union of souls after which we strive, the intermingling of hearts, as it were.

 

(...)

 

Therefore, my dear, the kiss is our strongest weapon, but we must take care not to dull it. Do not forget that its value is only relative, purely conventional. It continually changes according to circumstances, the state of expectancy and the ecstasy of the mind.

 

 

 

"The Kiss"; Guy de Maupassant (1850-1893)
  Imagen: Il bacio più lungo del mondo (BoB Marongiu)

 

Reality Bites

Reality Bites TROY DYER: "Today we have with us...
"the Pulitzer Prize winning documentarian
Lelaina Pierce. Lelaina, after your first film,
Why Barbie Is Bad... You seem to have
forgotten all about...your best friend,
Troy Dyer"

 

LELAINA PIERCE: Troy who?
What was that name again?

 

TROY: Oh, right through the heart...
I'll probably be working at the Whole
Foods... playing warehouses...hanging
around places like the Radio Shack...
screaming that I used to know you...
and you'll be there in the lights...
and you'll be all beautiful and shit.

 

 

LELAINA: Oh, Troy... No, no, no.
That'll never happen. They would
never hire you at Whole Foods.

 

TROY: You see, Lainie, this is all we need...
a couple of smokes, a cup of coffee...
And a little bit of conversation.
You and me and five bucks.


LELAINA: You got it.
TROY: You know what? -Hmm?
LELAINA: No, no, no. -What?

(HE KISSES HER)

LELAINA: Troy, I can't. I can't.
TROY: Why not? You never thought about it?
LELAINA: Well, yes, of course I have, but I...
TROY: But what?
LELAINA:  I can't not be friends with you, OK?

TROY:  I don't want that. That's not what I'm talking about.
I'm talking about a... you know, evolving.

LELAINA:  I just can't handle this right now.
I can't evolve right now.

---------------------------------------
REALITY BITES (1994)
Director: Ben Stiller

El retrato de Dorian Gray

El retrato de Dorian Gray

“All good hats are made out of nothing"

 

"Like all good reputations, Gladys" interrupted Lord Henry. "Every effect that one produces gives one an enemy. To be popular one must be a mediocrity."

 

"Not with women" said the duchess, shaking her head; "and women rule the world. I assure you we can't bear mediocrities. We women, as some one says, love with our ears, just as you men love with your eyes, if you ever love at all"

 

"It seems to me that we never do anything else," murmured Dorian.

 

"Ah! then, you never really love, Mr. Gray" answered the duchess with mock sadness.

 

"My dear Gladys!" cried Lord Henry. "How can you say that? Romance lives by repetition, and repetition converts an appetite into an art. Besides, each time that one loves is the only time one has ever loved. Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible."

 

"Even when one has been wounded by it, Harry?" asked the duchess after a pause.

 

"Especially when one has been wounded by it" answered Lord Henry.

Onegin

Onegin

San Petersburgo, Rusia, 1820, Evgeny Onegin es uno de los solteros más codiciados de San Petersburgo a pesar de su infame cinismo en todo lo relativo al corazón. Onegin en plena juventud se siente hastiado de la vida. Aristócrata, rico terrateniente, cansado de los placeres, indolente, permanece soltero por miedo a las responsabilidades. A través de su amigo Lensky conoce a Tatiana, la cual se enamora inmediatamente de él. Éste la rechaza y tras algunos incidentes, desaparece de la ciudad. Tras seis años, regresa a San Petersburgo y se reencuentra fortuitamente con Tatiana, ahora casada en un matrimonio de conveniencia. Onegin esta vez, se enamora perdidamente de ella.

 

TATYANA: Why you have come here?
ONEGIN: I have to see you. Forgive me.
TATYANA: I would like you to leave.
ONEGIN: I cannot... I cannot...

TATYANA: Why... why do you pursue me like this?
ONEGIN: Because I love you. I love you.
TATYANA: What do you think you see? A moment of tryumph? A brief scandal?
ONEGIN: No!...
TATYANA: Why this change? Why has this sudden sight of me shocked you into this?
ONEGIN: Because I... I don't know. But seeing you again... I ... I have seen myself.
TATYANA: You... you are mistaken in what you say and in how you see me. I listened to you six years ago and I... I feel that you acted honorably, I... I do not accuse you...

ONEGIN: Please... Tatyana... hear me... please
TATYANA: Why?
ONEGIN: Hear me...
TATYANA: Why? Because I'm noble now? Am I noble enough for you now? Evgeny, you should know that this, all this, this life, my life, my life is empty and hollow and I would happily exchange all that you see around me for the life that I had.

ONEGIN: Tell me that you feel nothing.
TATYANA: My husband is asleep upstairs!
ONEGIN: Tell me that you love me.
TATYANA: I loved you once, a long time ago...
ONEGIN: There... you haven't forgotten...
TATYANA: No...
ONEGIN: Tatyana I beg you... be with me
TATYANA: You.. you told me once that my heart would heal, so will yours Evgeny

ONEGIN: And has it healed?
TATYANA: God it hurts... (crying)
ONEGIN: Has it healed?... I don't think so...
TATYANA: It hurts...
ONEGIN: Why does it hurts? Why?... Tell me... tell me why does it hurts!!
TATYANA: Because you are too late!! Yes, you are too late Evgeny...

ONEGIN: Save me... save me...
TATYANA: I cannot save you...
ONEGIN: You have to save me (kneeled down)
TATYANA: I cannot
ONEGIN: Tell me that you love me. Please, tell me. Lie to me. Tell me that you love me.
TATYANA: I love you, I do. I love you... I'm another's man wife, do you understand? And I have given him my word and I will be faithful to him... I will... You must go... yes, you must go, you must leave me, please...please... I cannot see you again, you can never come back, never come back here... please... I'm sorry... I'm sorry...

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GiLDa

GiLDa BALLIN MUNDSON: You knew him before.
GILDA: Who?
BALLIN: Johnny.
GILDA: Johnny Farrel?
BALLIN: You knew him before.
GILDA: No.
BALLIN: Don't ever lie to me.
GILDA: I'm telling the truth. I don't think I ever knew him.
BALLIN: I see. You're a child, Gilda. A beautiful, greedy child.
I like to feed you beautiful things. You have such a good appetite.
GILDA: But I shouldn't make any mistakes?
BALLIN: No, you shouldn't.
GILDA: If you're worried about Johnny Farrel, don't be. I hate him.
BALLIN: And he hates you. That's apparent. But hate can be an
exciting emotion. Haven't you noticed that?
GILDA: You make it s...
BALLIN: There is a heat in it one can feel. Didn't you feel it tonight?
GILDA: No
BALLIN: I did, and it warmed me.

A Bout de Souffle

A Bout de Souffle

 

<MICHEL> Why are you looking at me?

<PATRICIA> Just lookin'…

<MICHEL> Why are you so afraid to sleep with me again?

< PATRICIA > Because you scare me. I don't know what you want from me.

< MICHEL > Everything.

< PATRICIA > That's too much.

< MICHEL > What do you want from me?

< PATRICIA > I don't know. Something.

< MICHEL > That's not enough. All or nothing with me, baby! God, I love it when you look afraid and surprised at the same time.

 

 

 

 

 

 

À BOUT DE SOUFFLE / BREATHLESS / SIN RESPIRO

Jean-Luc Godard (1960)

Jean-Paul Belmondo as Michel Poiccard alias Laszlo Kovacs
Jean Seberg as Patricia Franchini

Match Point

Match Point

 

"The man who said

'I'd rather be lucky than good'

saw deeply into life.

People are often afraid to realize

how much of an impact luck plays.

There are moments in a tennis match

where the ball hits the top of the net,

and for a split second,

remains in mid-air.

With a litte luck,

the ball goes over,

and you win.

Or maybe it doesn't,

and you lose... "

 

 

Excelente película que ha conseguido

crearme un estado de nervios

durante 124 minutos.

Hacía tiempo, hacía tiempo...

Buffalo '66

Buffalo '66

LAYLA: Can l get a kiss good-bye?
BILLY BROWN: No. Don’t start. Please. Don’t start trouble. Don’t... don’t. Don’t start evil. l didn’t say l’d give you a kiss. l said l’d get you a hot chocolate, okay? So l’m gonna go.
LAYLA: Can l have a hug then?
BILLY BROWN: Oh, man. Come on.
LAYLA: Can we just shake hands?
BILLY BROWN: Okay.
LAYLA: Remember you promised you’d come back.
BILLY BROWN: Promise.
LAYLA: Billy. l just want you to know...l think... you’re the sweetest guy in the world and the most handsome...

(Ya lo dije en su día: peli imprescindible)

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When Harry Met Sally

When Harry Met Sally

 

14 de Febrero de 2006

 

 

Harry: I’ve been doing a lot of thinking,

and the thing is, I love you.

Sally: What?!

Harry: I love you.

Sally: How do you expect me to respond

to this?

Harry: How about, you love me too.

Sally: How about, I’m leaving.

 

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