$LAYYYTER
No title available
RMH
he wasn't even looking at me and he found me
Monterey Bay Aquarium
Andulka
🪼
@theartofmadeline
art blog(derogatory)
One Nice Bug Per Day
祝日 / Permanent Vacation
styofa doing anything
No title available
#extradirty
Product Placement
Peter Solarz
Not today Justin
Game of Thrones Daily
d e v o n
todays bird
seen from Germany
seen from United States
seen from United States
seen from Hong Kong SAR China
seen from Brazil
seen from Guatemala
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Russia
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
@whisperofadoubt
The most human thing a character can do is contradict themselves.
The cynic who still carries a childhood stuffed animal.
The liar who craves honesty.
The overthinker who makes reckless decisions.
The heartbreaker who believes in soulmates.
The pacifist who holds lifelong grudges.
The tough guy who cries during old movies.
The thrill-seeker who's terrified of commitment.
The grump who’s unfailingly polite to waitstaff.
People aren’t consistent. Your characters shouldn’t be either.
Gay people wanted this (me)
My love for you will never abate
I don’t care much about mafia movies but love me some girl boss. You go, Katya!
The eighties rolled on, and [Goncharov’s] underground cult following became a proxy for queer men to explore the extremes of desire without actually exploring the extremes of desire; the breakdown of the heterosexual marriage, a casual acquaintanceship that turns into bitter resentment, the entanglement of violence and hunger, all drew in an audience of punks, young artists, and counter-culture rebels.
Violence that stands in for queer desire, and queer desire that ends in violence, would become a controversial topic over the next several decades of film and media discussion – as more mainstream LGBT cinema took off in the 90’s and 2000’s, the subject of exploitation and over-exposure of homophobic trauma would become less palatable.
But this was the UK under Thatcher’s reign, and in the early 80’s the nature of homosexual desire was still taboo. This was barely ten years after the first pride, the Thorpe political scandal was still fresh in the minds of the polite society, and homosexuality was a topic reserved for scandalised tabloids.
It’s with this backdrop that underground re-enactments of Goncharov became popular in Brighton and Manchester, spreading eventually to London and the Oxford/Cambridge drama clubs. Amateur thespians played out the death scenes, the first meeting, the confrontations, the shoot-outs, the quiet desire. Male performers would take the roles of Katya and Sofia - in most popular re-enactments, Katya and Andrey would share one actor. Women played the parts of men, men played the parts of the femme fatale, and gender non-conformity abounded in the liminal space between lawlessness and story.
A tragedy knows it’s a tragedy. The actors in the re-enactments took a Tom Stoppard-like approach in how it repeated its narrative violence. The actor that will kiss Goncharov in one scene as Katya, will kill him just ten minutes later as Andrey. No costume change, no make-up trickery – same narrative tools used to hammer out the machinery of desire. Andrey and Gocharov may be doomed by the movie to kill eachother, but in the nimble hands of experimental theatre, they can finally play out their unsated hunger.
Francine Rubek and Samson Jian, Under the Queer Gaze (2014, Palgrave Macmillan)
if only time would stop for us
Katya & Sofia - Goncharov (1973) Dir. Martin Scorsese
“Katya Remembers” from the Goncharov original soundtrack.
You know, not enough people on here are talking about the conversational parallels between the apple cart scene between Katya and Sofia and the bridge scene between Goncharov and Andrei. Yes, the soundtrack's motif is there in both the bridge scene and the clocktower shots, so obviously that's what people are going to focus on; but there's something rather substantial to be said about the parallels between the apple cart scene- something which is widely agreed upon to be one of the most blatantly homoerotic scenes in the entire film- and one of the most impactful and revealing character moments in the narrative.
In these scenes, one character truly expresses their desire (although not explicitly in a sexual or romantic way (although with the surrounding subtext and the context from the rest of the plot it's hard to deny their meanings)) for the other. The twist about this, however, is that they play opposite roles in the narrative. Sofia orbits Katya, having such a fierce allegiance towards the woman that she would do anything for her, even stand up against Katya's mafia don of a husband. Goncharov is obsessed with Andrei, toxically so, to the point where he goes so far as to ensnare him in every little thing to keep him close, even as Andrei attempts to distance himself from fear of their operation going south (as it does after the betrayal; this film truly has one of the best depictions of narrative foreshadowing and cyclical narratives I've seen from films of the period.)
Their partners are both enthralled by the others declarations, but in opposite directions. Katya takes their conversation as a means to go through with her plan, as she has the reassurance of one of her closest confidants. Andrei, on the other hand, asserts that he must stick with Goncharov in order to survive, thus falling further into the bond that they share (and further dooming himself, in turn).
In short, these scenes just show so much thought into character relationships and bonds and it's a shame that so many people do not see the many similarities that they share.
OMG, can't believe that spotify finally put up the Goncharov soundtrack in time for the 50th anniversary.
i can’t stop thinking about the goncharov soundtrack and the skill with which the music adds to the story. the elements of katya’s theme that are borrowed from goncharov’s slowly being replaced with phrases from sofia’s? the subtle ticking of a clock in both goncharov’s and andrey’s? the movie’s main theme is so beautiful by itself but the way they mixed in all the characters’ themes so slowly to make a beautiful piece only to have the silence after gonch’s death? gorgeous, absolutely. and don’t even get me STARTED on dies irae being a running theme throughout, ugh. absolute masterwork on leitmotifs
This post reminded me of the EXCELLENT soundtrack this movie has, thank you @caramiaaddio
(sorry about the quality, I had to grab it from my computer, and I kept shifting around to get the best audio)
got the goncharov soundtrack on repeat. fucking slaps
I can't find any recordings of the soundtrack of Goncharov, which is really sad because the music is so good. Here's a clip of the main theme that I cropped out from the opening credits.
Gevierre is an amazing composer, but none of his music is available online... :(
Gaslight, Gatekeep, Goncharov
Brooding no more!!!🍻
His Sweet Kiss...🌼⚔️
making a 3hr playlist for the preschoolers with 60s/70s folk and americana songs all about peace, love, and harmony... i WILL make my students into hippies i WILL create the next generation of lovers against war and consumerism <3
the first 10 songs.... little babies u are not immune to my propaganda
@thebaffledtiewriter here u go... the rest tht i have so far :)
