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After all, proper wrestling can only lead to boxing or Ju-do, while the uniqueness of real wrestling is that at all the exaggerations that make wrestling a scene. sport. The end of a boxing match or a Ju-do martial arts match is as neat as the end of a document to prove. The rhythm of wrestling is different, because its natural tendency is rhetorical amplification: exaggeration of temperaments, repetition of dramas, aggravating blows of course only possible. leading to the weirdest mess. Some of the matches, and the most successful ones, end with a ruckus, like a rattle gun dance *, where all the rules, all the rules of the genre, the role of the referee and the boundaries of the Arena were all removed, caught in the joyful chaos that spilled into the arena, bringing the wrestlers, caregivers, referees and the spectators in chaos. . To my husband in heaven cardinal poster In Mankiewicz’s Jules César, all the characters have a hairline on their forehead, some of them are curly, others are thin like thread, others stick out like crests, others are smeared. varnish, all carefully brushed, and bald ones are not selected, though Roman History provides a fair number of bald people. It takes costly for anyone with thin hair to deal with it, and the barber who is the main craftsman of the film always knows how to pull out the last strand of hair, which continues on to the edge of the forehead, the brow. Roman, the narrow forehead always represents a peculiar mixture of authority, morality, and subjugation.
To my husband in heaven cardinal poster
because playing paradoxical contradiction means assuming its sides are very far apart: in other words, kings are of a supernatural nature, and when they are temporarily borrowing some forms of the democratic lifestyle, it can only be the incarnation contrary to the nature, implementation can only be due to condescension. Raising that the kings can also be trivial, that is, admitting that it is nothing more than the people playing godly, that is, acknowledging that the king is still the way of heaven. To my husband in heaven cardinal poster For Charlot, the proletariat is still starving: hunger shows have always had a grandeur in Charlot: oversized sandwiches, streams of milk flowing like streams, fruits just biting in, let it go indifferently; ironically, the feeder (the boss attribute) only delivers food pieces by piece and is clearly bland. Tortured by hunger, man — Charlot is always in a position where there is no political awareness: strike is a disaster for him because it threatens a man who is truly blinded by hunger; that man only encountered the job of a seaman at the moment when the poor and the proletariat were identified with each other under the eyes (and the whips) of the police.
The wedding of the stars is almost always introduced and will take place only. The wedding deploys the myth of the Doubles almost purely (at least in the Vallone-Morgan case; for Brando, social elements still stand out, we will see later). The name of husband and wife is almost redundant, pushed without thinking into a vague future: Marlon Brando will marry Josiane Mariani (but only after he will finish filming twenty new films); Michèle Morgan and Raf Vallone will probably become To my husband in heaven cardinal poster Besides, the psychology of today being beheaded in its name is likely to originate directly from our traditional literature, which is called the bourgeoisie-literature of the Living Document. . It is in the name of the living document that old Dominici was condemned. Justice and literature have come together, exchanging their old techniques, revealing their identity, brazenly helping each other. Behind the judges, in the ivory chairs, were the writers (Giono, Salacrou *). On the prosecution table, is the judge? No, that “great story writer”, inherently “undeniable intelligence” and a dazzling “enthusiasm” (according to the dreadful praise that Le Monde newspaper bestowed upon the court attorney). Even the police here started to write.