Ok, maybe every other Moulin Rouge fan knows this


but remember when Zigler tells Satine that she is dying--right as she's packing to flee with Christian? She sings the following lines:

If I should die this very moment
I wouldn't fear
For I've never known completeness
Like being here
Wrapped in the warmth of you
Loving every breath of you

I was always super sad that this snippet of song wasn't on either of the soundtracks released for the film. Today I was searching for songs by the band Lamb, and lo and behold I came upon "Gorecki."

I should have known that the song was probably a sampling considering so much of the rest of the movie's music is not original, but live and learn. What a treat to find it!

"Most women spend [most of their time trying] to imagine what a straight man would see, because it’s our social duty to be sexually attractive."

There's a lot of hoopla in the blogosphere over the New York Times Magazine cover story out this Sunday: "What is Female Desire?: A Post-Feminist Generation of Researchers is Discovering Things Dr. Freud Could Never Have Imagined" by Daniel Bergner.

Jill Filipovic at Feministe's thoughts on the findings given in the piece (emphasis mine):

"Shocking, absolutely shocking, that when women are raised in a culture that equates the female body with sex itself, that positions the female body as an object of desire, and that emphasizes that being desired is the height of female achievement, women will see sex as a process primarily centered on male attraction to women, and will get off more on being wanted than on wanting.

Shocking, too, that when “naked chick” is cultural shorthand for “sex,” women will look at naked chicks and think “sex.”

It’s not narcissism. It’s a lifetime of experiencing the world secondarily, and seeing ourselves through male eyes; it’s the lack of agency and power that comes with being an object to be looked upon."

In addition, Megan and Anna from Jezebel.

Tracy Clark-Flory of Salon.

Amanda Marcotte of Pandagon.

Courtney of Feministing

"I see no reason why there couldn't be a small corner in your house where this scene is playing on a loop all the time."


Fred and Eleanor come back, in the foreground now--he's in a white tux, black tie; she's in a swirling white frock that stops at the top of her calf. Now it's a flat-out tap version of "Beguine," one of mounting speed and exuberance, with a gaiety and an energy so great that if you'd been Hitler in 1940, you might have looked at this and called a halt. Fred and Eleanor had no artillery, no cavalry, no infantry. But they had the assurance to do this dance as if in the front parlor, for millions of people. And as it ends, there's a quite enchanting moment where the dancers stop and Eleanor's loose white flower of a frock keeps dancing for a second and a half.

- David Thomson

Seriously, Cole Porter. One of the best songs EVER.

Doctor Jones, Bono, Frank Sinatra, and Jake Ryan


- We start out with a McSweeney's feature: Back From Yet Another Globetrotting Adventure, Indiana Jones Checks His Mail And Discovers That His Bid For Tenure Has Been Denied.

- Growing up we usually used the overtures of films, specifically musicals, to run for more snacks, visit to the bathroom, talk about how much we loved the film we were about to see, or as an excuse to exercise the fast-forward button on our VCR remote. In 2006, Jesse Green of the New York Times explained the demise of the overture (italics mine):

"The traditional curtain-down, unstaged overture presupposed that music was already something happening, something capable, all by itself, of holding people’s attention. That notion has been sorely tested in recent years. Producers and directors say they doubt the audience’s ability to perceive useful information encoded in orchestral sound. Decoding that information depends on the habit of listening to music for its own inherent expressiveness, without words, pictures or action: a habit that disappeared from mainstream American culture along with the piano in the parlor."

- Speaking of music, here's Bono's take on the New Year, courtesy of Ol' Blue Eyes:

"Is this knotted fist of a voice a clue to the next year? In the mist of uncertainty in your business life, your love life, your life life, why is Sinatra’s voice such a foghorn — such confidence in nervous times allowing you romance but knocking your rose-tinted glasses off your nose, if you get too carried away.

A call to believability.

A voice that says, “Don’t lie to me now.”"

(There's even a multimedia option in the left column where you can have Bono read the article to you. *Tiny swoon*)

- An essay by Hank Stuever on why Jake Ryan of Sixteen Candles is never coming to get you:

"The second way of talking through Jake-related issues is harder. It's about an ache, a loss. It's about the imperfection of life. In the movie, Ringwald's character muses on what a 16th birthday is supposed to be like: "A big Trans-Am in the driveway with a ribbon on it and some incredibly gorgeous guy you meet in France and you do it on a cloud without getting pregnant or herpes." In this way she is asking for a miracle and Jake is Christ, redeeming the evil sins of high school. Jake as the ideal. Jake as the eternal belief in something better. (Jake on the phone, leaving a message Samantha is temporarily fated not to receive: "Would it be possible for you to tell me if there is a Samantha Baker there, and if so, may I converse with her briefly?")"

The deletion of key scenes from "The Way We Were" irrevocably damaged the film.*


*Article 2 of the "Young Biddy's Manifesto" created by Emma Brockes.

If there ever was a contest for KILLER movie posters


Poland would take the cake, the gold, the whole effing title. Don't get me wrong, if you've been to my place you know that I love a good American movie poster, but these are freaking ridiculous.

(my fair lady)

(the birds)

(star wars)

(kramer vs. kramer)

(raiders of the lost ark)


(sunset boulevard)

More here.

"the past is, by definition, something people have lost."


Casablanca dramatizes archetypes. The main one is the imperative to move from disengagement and cynicism to commitment. The question is why Casablanca does this more effectively than other films. Several other Bogart films of the same period -- Passage to Marseilles, To Have and Have Not, Key Largo -- enact exactly the same conversation. But the Rick character does not simply go from disengagement to engagement but from bitter and truculent denial of his past to a recovery and reignition of the past. And that is very moving, particularly because it is also associated with Oedipal drama. But there is also a third myth narrative, a story about coming to terms with the past. Rick had this wonderful romance; he also had his passionate commitment. It seems gone forever. But you can get it back. That is a very powerful mythic story, because everybody has lost something, and the past is, by definition, something people have lost. This film enables people to feel that they have redeemed the past and recovered it, and yet without nostalgia. Rick doesn't want to be back in Paris. And the plot is brilliantly constructed so that these three myths are not three separate tales, but one story with three myths rushing down the same channel.

- Sociologist Todd Gitlin

Hi! I'm Baby Jesus. Hope you enjoy my blog!


This column from Maclean's by Scott Feschuk is fantastic.

"I don't know about these swaddling clothes. Swaddling is pretty 10 B.M. (Before Me) if you know what I'm saying. What do you think? Answer my online poll."

"While it is true that there are no limits to my capacity for forgiveness, let's try to keep things civilized in the comments section, okay? It's getting out of hand. Kill everyone under the age of 2? That's really classy, KingHerodRocks."