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Professor William Hundert is a distinguished Classics history teacher at St. Benedict's Academy for Boys. Another year is beginning, and the students file in and introduce themselves. Hundert has a certain plaque above his door he requires one student, Martin Blythe to read. The plaque states: "I am Shutruk Nahunte, King Anshand and Sussa, sovereign of the land of Elam. By command of Ishushinck I destroyed Sippar, took the stele of Niran-Sin, and brought it back to Elam, where I erected it as an offering to my god, Inshushink." He requires his students to look up Shutruk Nahunte, then stops them, saying they won't find it in any history book, because Nahunte is not any. Hundert then says that Nahunte was virtually forgotten because "Ambition and conquest without contribution is without significance." Then he challenges his students, saying "What will your contribution be? How will history remember you?" which becomes the theme of the film. A friendly relationship between Hundert and fellow teacher Elizabeth is also introduced, as she has returned from Greece and presents Hundert with a snow globe of the Parthenon.A new student enter the fray shortly after, a certain Sedgewick Bell, the son of a senator from West Virginia. The cocky Bell starkly contradicts the principled Hundert, and various acts of rebellion lead to much tension between the two. As Bell's attitude worsens, and Hundert unable to straighten him, Hundert feels forced to travel to Washington D.C. and have a word with Senator Bell, Sedgewick's father. The Senator shows a surprising amount of apathy in his son's character development, and reprimands Hundert, telling him that Hundert's job is to teach him facts out of a text book, but not to influence him as a person. Hundert dejectedly returns to St. Benedict's and begins preparations for a certain "Mr. Julius Caesar" contest. The three finalists are determined by a series of essays given by Hundert, and the three highest net scores proceed to the finals, where they stand on stage in togas and answer trivia questions about ancient Roman history. During the course of the essays, Hundert surprisingly sees a changed Bell, one who begins working hard in his studying and overachieves Hundert's expectations. After Hundert completes the grading of the essays, Deepak Mehta, Louis Masoudi, and Martin Blythe have the highest score. However, wanting to reward a newly-dedicated Bell, Hundert alters his grade, putting him ahead of Blythe.The Mr. Julius Caesar contest arrives and Masoudi, Mehta, and Bell are pitted against each other. Masoudi quickly misses a question and is forced to sit, leaving Bell and Mehta to duel each other for the crown. Both do surprisingly well, much to Hundert and Bell's father's excitement. However, Hundert notices Bell does a peculiar motion whenever he is asked a question, where he put his hands over his eyes. Hundert speculates Bell is cheating and quietly asks the headmaster what to do. Contradictory to Hundert's principles, the headmaster tells Hundert to allow it. Knowing Mehta read an extra-curricular book about Hamilcar Barca, who is not in the assigned textbooks, Hundert asks Bell a question about him. Surely enough, Bell can't answer and Mehta wins the crown of Mr. Julius Caesar. Hundert visits Bell later and discovers that Bell indeed was cheating, having taped notecards of the question on his toga, out of sight to anyone but him. Hundert keeps the incident to himself but the trust and respect he had developed for Sedgewick has been broken. Hundert feels he has failed as a teacher, especially considering he disallowed Blythe from participating. Twenty-five years later, Hundert and Elizabeth are married, and the headmaster of St. Benedict's has passed away. Thinking he'll take the vacated position, Hundert is shocked to discover a fellow teacher has been given the privilege of being named the headmaster, because the Board believes he's a better fundraiser. Hundert immediately tenders his resignation, much to the Board's chagrin, and retires. Shortly after, Hundert receives a letter inviting him to a class reunion, one that a now-successful and wealthy Sedgewick Bell is hosting. Also, if Hundert agrees to come and host a rematch of the Mr. Julius Caesar contest, Bell will donate a large amount of money to the school. Agreeing to this, Hundert arrives at Bell's estate, where an enthusiastic Bell greets Hundert. Before the rematch begins, Bell speaks of Hundert's dignity and how much Hundert taught him, in spite of his rebellious nature. Then, Bell reveals his attentions to succeed his late father and run for Senator, and the contest begins.Once again Masoudi loses on the first question and Mehta and Bell duke it out again. Both again do surprisingly well, but Hundert catches a glimpse of an earpiece in Bell's ear, then looks to the back and sees a man on a headset looking in books. Shocked, Hundert continues the contest, but asks Sedgewick Bell who Shutruk Nahunte was, knowing Nahunte isn't in any textbooks. Both Bell and the man on the headset are stumped, but Mehta quickly recites the plaque that was above Hundert's wall, and wins the contest again. Hundert goes to the bathroom to collect himself, and Bell walks in, engaging Hundert in pleasant conversation, which Hundert uses to confront Bell. Suddenly Bell's demeanor changes and he becomes defensive and spiteful, telling Hundert that he doesn't care for Hundert's principles and virtue, because it's all a bunch of bull****. Bell reveals he lives in a world where "people do what they do to get what the want." Suddenly, Bell's son emerges from a stall with a shocked look on his face, and quietly walks out. Bell is left speechless and embarrassed, knowing he just revealed himself to be a cheater and liar in front of his son. Hundert quietly retires to his room, and wakes up the next morning expecting to find his students down at breakfast. Reading a note they left wishing him well, and disappointed by their absence, he prepares to leave, but they throw a surprise party in his room when he returns, and Hundert later admits to a now-grown Martin Blythe that he allowed Bell to unfairly sneak over him in the Mr. Julius Caesar contest years earlier.Upon returning to his home, he decides to return to St. Benedict's, now a co-ed school, as a teacher of the Classics. It shows a fresh new batch of students, including Martin Blythe's son. Seeing Martin Blythe outside his classroom window and exchanging a friendly wave, Hundert has Blythe's son read Shutruk Nahunte's plaque, just as his father did years earlier.

The Emperor's Club

5fcc3239-07ff-f61e-9c8f-8f99c583ed5f

What meal do Hundert's students give him?

/m/027njn

Professor William Hundert is a distinguished Classics history teacher at St. Benedict's Academy for Boys. Another year is beginning, and the students file in and introduce themselves. Hundert has a certain plaque above his door he requires one student, Martin Blythe to read. The plaque states: "I am Shutruk Nahunte, King Anshand and Sussa, sovereign of the land of Elam. By command of Ishushinck I destroyed Sippar, took the stele of Niran-Sin, and brought it back to Elam, where I erected it as an offering to my god, Inshushink." He requires his students to look up Shutruk Nahunte, then stops them, saying they won't find it in any history book, because Nahunte is not any. Hundert then says that Nahunte was virtually forgotten because "Ambition and conquest without contribution is without significance." Then he challenges his students, saying "What will your contribution be? How will history remember you?" which becomes the theme of the film. A friendly relationship between Hundert and fellow teacher Elizabeth is also introduced, as she has returned from Greece and presents Hundert with a snow globe of the Parthenon.A new student enter the fray shortly after, a certain Sedgewick Bell, the son of a senator from West Virginia. The cocky Bell starkly contradicts the principled Hundert, and various acts of rebellion lead to much tension between the two. As Bell's attitude worsens, and Hundert unable to straighten him, Hundert feels forced to travel to Washington D.C. and have a word with Senator Bell, Sedgewick's father. The Senator shows a surprising amount of apathy in his son's character development, and reprimands Hundert, telling him that Hundert's job is to teach him facts out of a text book, but not to influence him as a person. Hundert dejectedly returns to St. Benedict's and begins preparations for a certain "Mr. Julius Caesar" contest. The three finalists are determined by a series of essays given by Hundert, and the three highest net scores proceed to the finals, where they stand on stage in togas and answer trivia questions about ancient Roman history. During the course of the essays, Hundert surprisingly sees a changed Bell, one who begins working hard in his studying and overachieves Hundert's expectations. After Hundert completes the grading of the essays, Deepak Mehta, Louis Masoudi, and Martin Blythe have the highest score. However, wanting to reward a newly-dedicated Bell, Hundert alters his grade, putting him ahead of Blythe.The Mr. Julius Caesar contest arrives and Masoudi, Mehta, and Bell are pitted against each other. Masoudi quickly misses a question and is forced to sit, leaving Bell and Mehta to duel each other for the crown. Both do surprisingly well, much to Hundert and Bell's father's excitement. However, Hundert notices Bell does a peculiar motion whenever he is asked a question, where he put his hands over his eyes. Hundert speculates Bell is cheating and quietly asks the headmaster what to do. Contradictory to Hundert's principles, the headmaster tells Hundert to allow it. Knowing Mehta read an extra-curricular book about Hamilcar Barca, who is not in the assigned textbooks, Hundert asks Bell a question about him. Surely enough, Bell can't answer and Mehta wins the crown of Mr. Julius Caesar. Hundert visits Bell later and discovers that Bell indeed was cheating, having taped notecards of the question on his toga, out of sight to anyone but him. Hundert keeps the incident to himself but the trust and respect he had developed for Sedgewick has been broken. Hundert feels he has failed as a teacher, especially considering he disallowed Blythe from participating. Twenty-five years later, Hundert and Elizabeth are married, and the headmaster of St. Benedict's has passed away. Thinking he'll take the vacated position, Hundert is shocked to discover a fellow teacher has been given the privilege of being named the headmaster, because the Board believes he's a better fundraiser. Hundert immediately tenders his resignation, much to the Board's chagrin, and retires. Shortly after, Hundert receives a letter inviting him to a class reunion, one that a now-successful and wealthy Sedgewick Bell is hosting. Also, if Hundert agrees to come and host a rematch of the Mr. Julius Caesar contest, Bell will donate a large amount of money to the school. Agreeing to this, Hundert arrives at Bell's estate, where an enthusiastic Bell greets Hundert. Before the rematch begins, Bell speaks of Hundert's dignity and how much Hundert taught him, in spite of his rebellious nature. Then, Bell reveals his attentions to succeed his late father and run for Senator, and the contest begins.Once again Masoudi loses on the first question and Mehta and Bell duke it out again. Both again do surprisingly well, but Hundert catches a glimpse of an earpiece in Bell's ear, then looks to the back and sees a man on a headset looking in books. Shocked, Hundert continues the contest, but asks Sedgewick Bell who Shutruk Nahunte was, knowing Nahunte isn't in any textbooks. Both Bell and the man on the headset are stumped, but Mehta quickly recites the plaque that was above Hundert's wall, and wins the contest again. Hundert goes to the bathroom to collect himself, and Bell walks in, engaging Hundert in pleasant conversation, which Hundert uses to confront Bell. Suddenly Bell's demeanor changes and he becomes defensive and spiteful, telling Hundert that he doesn't care for Hundert's principles and virtue, because it's all a bunch of bull****. Bell reveals he lives in a world where "people do what they do to get what the want." Suddenly, Bell's son emerges from a stall with a shocked look on his face, and quietly walks out. Bell is left speechless and embarrassed, knowing he just revealed himself to be a cheater and liar in front of his son. Hundert quietly retires to his room, and wakes up the next morning expecting to find his students down at breakfast. Reading a note they left wishing him well, and disappointed by their absence, he prepares to leave, but they throw a surprise party in his room when he returns, and Hundert later admits to a now-grown Martin Blythe that he allowed Bell to unfairly sneak over him in the Mr. Julius Caesar contest years earlier.Upon returning to his home, he decides to return to St. Benedict's, now a co-ed school, as a teacher of the Classics. It shows a fresh new batch of students, including Martin Blythe's son. Seeing Martin Blythe outside his classroom window and exchanging a friendly wave, Hundert has Blythe's son read Shutruk Nahunte's plaque, just as his father did years earlier.

The Emperor's Club

fd40318d-1758-0076-ccd6-1b96afd57475

Who does Hundert teach ?

/m/027njn

Professor William Hundert is a distinguished Classics history teacher at St. Benedict's Academy for Boys. Another year is beginning, and the students file in and introduce themselves. Hundert has a certain plaque above his door he requires one student, Martin Blythe to read. The plaque states: "I am Shutruk Nahunte, King Anshand and Sussa, sovereign of the land of Elam. By command of Ishushinck I destroyed Sippar, took the stele of Niran-Sin, and brought it back to Elam, where I erected it as an offering to my god, Inshushink." He requires his students to look up Shutruk Nahunte, then stops them, saying they won't find it in any history book, because Nahunte is not any. Hundert then says that Nahunte was virtually forgotten because "Ambition and conquest without contribution is without significance." Then he challenges his students, saying "What will your contribution be? How will history remember you?" which becomes the theme of the film. A friendly relationship between Hundert and fellow teacher Elizabeth is also introduced, as she has returned from Greece and presents Hundert with a snow globe of the Parthenon.A new student enter the fray shortly after, a certain Sedgewick Bell, the son of a senator from West Virginia. The cocky Bell starkly contradicts the principled Hundert, and various acts of rebellion lead to much tension between the two. As Bell's attitude worsens, and Hundert unable to straighten him, Hundert feels forced to travel to Washington D.C. and have a word with Senator Bell, Sedgewick's father. The Senator shows a surprising amount of apathy in his son's character development, and reprimands Hundert, telling him that Hundert's job is to teach him facts out of a text book, but not to influence him as a person. Hundert dejectedly returns to St. Benedict's and begins preparations for a certain "Mr. Julius Caesar" contest. The three finalists are determined by a series of essays given by Hundert, and the three highest net scores proceed to the finals, where they stand on stage in togas and answer trivia questions about ancient Roman history. During the course of the essays, Hundert surprisingly sees a changed Bell, one who begins working hard in his studying and overachieves Hundert's expectations. After Hundert completes the grading of the essays, Deepak Mehta, Louis Masoudi, and Martin Blythe have the highest score. However, wanting to reward a newly-dedicated Bell, Hundert alters his grade, putting him ahead of Blythe.The Mr. Julius Caesar contest arrives and Masoudi, Mehta, and Bell are pitted against each other. Masoudi quickly misses a question and is forced to sit, leaving Bell and Mehta to duel each other for the crown. Both do surprisingly well, much to Hundert and Bell's father's excitement. However, Hundert notices Bell does a peculiar motion whenever he is asked a question, where he put his hands over his eyes. Hundert speculates Bell is cheating and quietly asks the headmaster what to do. Contradictory to Hundert's principles, the headmaster tells Hundert to allow it. Knowing Mehta read an extra-curricular book about Hamilcar Barca, who is not in the assigned textbooks, Hundert asks Bell a question about him. Surely enough, Bell can't answer and Mehta wins the crown of Mr. Julius Caesar. Hundert visits Bell later and discovers that Bell indeed was cheating, having taped notecards of the question on his toga, out of sight to anyone but him. Hundert keeps the incident to himself but the trust and respect he had developed for Sedgewick has been broken. Hundert feels he has failed as a teacher, especially considering he disallowed Blythe from participating. Twenty-five years later, Hundert and Elizabeth are married, and the headmaster of St. Benedict's has passed away. Thinking he'll take the vacated position, Hundert is shocked to discover a fellow teacher has been given the privilege of being named the headmaster, because the Board believes he's a better fundraiser. Hundert immediately tenders his resignation, much to the Board's chagrin, and retires. Shortly after, Hundert receives a letter inviting him to a class reunion, one that a now-successful and wealthy Sedgewick Bell is hosting. Also, if Hundert agrees to come and host a rematch of the Mr. Julius Caesar contest, Bell will donate a large amount of money to the school. Agreeing to this, Hundert arrives at Bell's estate, where an enthusiastic Bell greets Hundert. Before the rematch begins, Bell speaks of Hundert's dignity and how much Hundert taught him, in spite of his rebellious nature. Then, Bell reveals his attentions to succeed his late father and run for Senator, and the contest begins.Once again Masoudi loses on the first question and Mehta and Bell duke it out again. Both again do surprisingly well, but Hundert catches a glimpse of an earpiece in Bell's ear, then looks to the back and sees a man on a headset looking in books. Shocked, Hundert continues the contest, but asks Sedgewick Bell who Shutruk Nahunte was, knowing Nahunte isn't in any textbooks. Both Bell and the man on the headset are stumped, but Mehta quickly recites the plaque that was above Hundert's wall, and wins the contest again. Hundert goes to the bathroom to collect himself, and Bell walks in, engaging Hundert in pleasant conversation, which Hundert uses to confront Bell. Suddenly Bell's demeanor changes and he becomes defensive and spiteful, telling Hundert that he doesn't care for Hundert's principles and virtue, because it's all a bunch of bull****. Bell reveals he lives in a world where "people do what they do to get what the want." Suddenly, Bell's son emerges from a stall with a shocked look on his face, and quietly walks out. Bell is left speechless and embarrassed, knowing he just revealed himself to be a cheater and liar in front of his son. Hundert quietly retires to his room, and wakes up the next morning expecting to find his students down at breakfast. Reading a note they left wishing him well, and disappointed by their absence, he prepares to leave, but they throw a surprise party in his room when he returns, and Hundert later admits to a now-grown Martin Blythe that he allowed Bell to unfairly sneak over him in the Mr. Julius Caesar contest years earlier.Upon returning to his home, he decides to return to St. Benedict's, now a co-ed school, as a teacher of the Classics. It shows a fresh new batch of students, including Martin Blythe's son. Seeing Martin Blythe outside his classroom window and exchanging a friendly wave, Hundert has Blythe's son read Shutruk Nahunte's plaque, just as his father did years earlier.

The Emperor's Club

15153243-e7a9-6dd1-36a7-b1e93e11975d

Which Teacher retired after the contest?

/m/027njn

Professor William Hundert is a distinguished Classics history teacher at St. Benedict's Academy for Boys. Another year is beginning, and the students file in and introduce themselves. Hundert has a certain plaque above his door he requires one student, Martin Blythe to read. The plaque states: "I am Shutruk Nahunte, King Anshand and Sussa, sovereign of the land of Elam. By command of Ishushinck I destroyed Sippar, took the stele of Niran-Sin, and brought it back to Elam, where I erected it as an offering to my god, Inshushink." He requires his students to look up Shutruk Nahunte, then stops them, saying they won't find it in any history book, because Nahunte is not any. Hundert then says that Nahunte was virtually forgotten because "Ambition and conquest without contribution is without significance." Then he challenges his students, saying "What will your contribution be? How will history remember you?" which becomes the theme of the film. A friendly relationship between Hundert and fellow teacher Elizabeth is also introduced, as she has returned from Greece and presents Hundert with a snow globe of the Parthenon.A new student enter the fray shortly after, a certain Sedgewick Bell, the son of a senator from West Virginia. The cocky Bell starkly contradicts the principled Hundert, and various acts of rebellion lead to much tension between the two. As Bell's attitude worsens, and Hundert unable to straighten him, Hundert feels forced to travel to Washington D.C. and have a word with Senator Bell, Sedgewick's father. The Senator shows a surprising amount of apathy in his son's character development, and reprimands Hundert, telling him that Hundert's job is to teach him facts out of a text book, but not to influence him as a person. Hundert dejectedly returns to St. Benedict's and begins preparations for a certain "Mr. Julius Caesar" contest. The three finalists are determined by a series of essays given by Hundert, and the three highest net scores proceed to the finals, where they stand on stage in togas and answer trivia questions about ancient Roman history. During the course of the essays, Hundert surprisingly sees a changed Bell, one who begins working hard in his studying and overachieves Hundert's expectations. After Hundert completes the grading of the essays, Deepak Mehta, Louis Masoudi, and Martin Blythe have the highest score. However, wanting to reward a newly-dedicated Bell, Hundert alters his grade, putting him ahead of Blythe.The Mr. Julius Caesar contest arrives and Masoudi, Mehta, and Bell are pitted against each other. Masoudi quickly misses a question and is forced to sit, leaving Bell and Mehta to duel each other for the crown. Both do surprisingly well, much to Hundert and Bell's father's excitement. However, Hundert notices Bell does a peculiar motion whenever he is asked a question, where he put his hands over his eyes. Hundert speculates Bell is cheating and quietly asks the headmaster what to do. Contradictory to Hundert's principles, the headmaster tells Hundert to allow it. Knowing Mehta read an extra-curricular book about Hamilcar Barca, who is not in the assigned textbooks, Hundert asks Bell a question about him. Surely enough, Bell can't answer and Mehta wins the crown of Mr. Julius Caesar. Hundert visits Bell later and discovers that Bell indeed was cheating, having taped notecards of the question on his toga, out of sight to anyone but him. Hundert keeps the incident to himself but the trust and respect he had developed for Sedgewick has been broken. Hundert feels he has failed as a teacher, especially considering he disallowed Blythe from participating. Twenty-five years later, Hundert and Elizabeth are married, and the headmaster of St. Benedict's has passed away. Thinking he'll take the vacated position, Hundert is shocked to discover a fellow teacher has been given the privilege of being named the headmaster, because the Board believes he's a better fundraiser. Hundert immediately tenders his resignation, much to the Board's chagrin, and retires. Shortly after, Hundert receives a letter inviting him to a class reunion, one that a now-successful and wealthy Sedgewick Bell is hosting. Also, if Hundert agrees to come and host a rematch of the Mr. Julius Caesar contest, Bell will donate a large amount of money to the school. Agreeing to this, Hundert arrives at Bell's estate, where an enthusiastic Bell greets Hundert. Before the rematch begins, Bell speaks of Hundert's dignity and how much Hundert taught him, in spite of his rebellious nature. Then, Bell reveals his attentions to succeed his late father and run for Senator, and the contest begins.Once again Masoudi loses on the first question and Mehta and Bell duke it out again. Both again do surprisingly well, but Hundert catches a glimpse of an earpiece in Bell's ear, then looks to the back and sees a man on a headset looking in books. Shocked, Hundert continues the contest, but asks Sedgewick Bell who Shutruk Nahunte was, knowing Nahunte isn't in any textbooks. Both Bell and the man on the headset are stumped, but Mehta quickly recites the plaque that was above Hundert's wall, and wins the contest again. Hundert goes to the bathroom to collect himself, and Bell walks in, engaging Hundert in pleasant conversation, which Hundert uses to confront Bell. Suddenly Bell's demeanor changes and he becomes defensive and spiteful, telling Hundert that he doesn't care for Hundert's principles and virtue, because it's all a bunch of bull****. Bell reveals he lives in a world where "people do what they do to get what the want." Suddenly, Bell's son emerges from a stall with a shocked look on his face, and quietly walks out. Bell is left speechless and embarrassed, knowing he just revealed himself to be a cheater and liar in front of his son. Hundert quietly retires to his room, and wakes up the next morning expecting to find his students down at breakfast. Reading a note they left wishing him well, and disappointed by their absence, he prepares to leave, but they throw a surprise party in his room when he returns, and Hundert later admits to a now-grown Martin Blythe that he allowed Bell to unfairly sneak over him in the Mr. Julius Caesar contest years earlier.Upon returning to his home, he decides to return to St. Benedict's, now a co-ed school, as a teacher of the Classics. It shows a fresh new batch of students, including Martin Blythe's son. Seeing Martin Blythe outside his classroom window and exchanging a friendly wave, Hundert has Blythe's son read Shutruk Nahunte's plaque, just as his father did years earlier.

The Emperor's Club

e02279dd-0fbe-7811-aa36-5d53ec484d0d

Who wins the competition?

/m/027njn

Professor William Hundert is a distinguished Classics history teacher at St. Benedict's Academy for Boys. Another year is beginning, and the students file in and introduce themselves. Hundert has a certain plaque above his door he requires one student, Martin Blythe to read. The plaque states: "I am Shutruk Nahunte, King Anshand and Sussa, sovereign of the land of Elam. By command of Ishushinck I destroyed Sippar, took the stele of Niran-Sin, and brought it back to Elam, where I erected it as an offering to my god, Inshushink." He requires his students to look up Shutruk Nahunte, then stops them, saying they won't find it in any history book, because Nahunte is not any. Hundert then says that Nahunte was virtually forgotten because "Ambition and conquest without contribution is without significance." Then he challenges his students, saying "What will your contribution be? How will history remember you?" which becomes the theme of the film. A friendly relationship between Hundert and fellow teacher Elizabeth is also introduced, as she has returned from Greece and presents Hundert with a snow globe of the Parthenon.A new student enter the fray shortly after, a certain Sedgewick Bell, the son of a senator from West Virginia. The cocky Bell starkly contradicts the principled Hundert, and various acts of rebellion lead to much tension between the two. As Bell's attitude worsens, and Hundert unable to straighten him, Hundert feels forced to travel to Washington D.C. and have a word with Senator Bell, Sedgewick's father. The Senator shows a surprising amount of apathy in his son's character development, and reprimands Hundert, telling him that Hundert's job is to teach him facts out of a text book, but not to influence him as a person. Hundert dejectedly returns to St. Benedict's and begins preparations for a certain "Mr. Julius Caesar" contest. The three finalists are determined by a series of essays given by Hundert, and the three highest net scores proceed to the finals, where they stand on stage in togas and answer trivia questions about ancient Roman history. During the course of the essays, Hundert surprisingly sees a changed Bell, one who begins working hard in his studying and overachieves Hundert's expectations. After Hundert completes the grading of the essays, Deepak Mehta, Louis Masoudi, and Martin Blythe have the highest score. However, wanting to reward a newly-dedicated Bell, Hundert alters his grade, putting him ahead of Blythe.The Mr. Julius Caesar contest arrives and Masoudi, Mehta, and Bell are pitted against each other. Masoudi quickly misses a question and is forced to sit, leaving Bell and Mehta to duel each other for the crown. Both do surprisingly well, much to Hundert and Bell's father's excitement. However, Hundert notices Bell does a peculiar motion whenever he is asked a question, where he put his hands over his eyes. Hundert speculates Bell is cheating and quietly asks the headmaster what to do. Contradictory to Hundert's principles, the headmaster tells Hundert to allow it. Knowing Mehta read an extra-curricular book about Hamilcar Barca, who is not in the assigned textbooks, Hundert asks Bell a question about him. Surely enough, Bell can't answer and Mehta wins the crown of Mr. Julius Caesar. Hundert visits Bell later and discovers that Bell indeed was cheating, having taped notecards of the question on his toga, out of sight to anyone but him. Hundert keeps the incident to himself but the trust and respect he had developed for Sedgewick has been broken. Hundert feels he has failed as a teacher, especially considering he disallowed Blythe from participating. Twenty-five years later, Hundert and Elizabeth are married, and the headmaster of St. Benedict's has passed away. Thinking he'll take the vacated position, Hundert is shocked to discover a fellow teacher has been given the privilege of being named the headmaster, because the Board believes he's a better fundraiser. Hundert immediately tenders his resignation, much to the Board's chagrin, and retires. Shortly after, Hundert receives a letter inviting him to a class reunion, one that a now-successful and wealthy Sedgewick Bell is hosting. Also, if Hundert agrees to come and host a rematch of the Mr. Julius Caesar contest, Bell will donate a large amount of money to the school. Agreeing to this, Hundert arrives at Bell's estate, where an enthusiastic Bell greets Hundert. Before the rematch begins, Bell speaks of Hundert's dignity and how much Hundert taught him, in spite of his rebellious nature. Then, Bell reveals his attentions to succeed his late father and run for Senator, and the contest begins.Once again Masoudi loses on the first question and Mehta and Bell duke it out again. Both again do surprisingly well, but Hundert catches a glimpse of an earpiece in Bell's ear, then looks to the back and sees a man on a headset looking in books. Shocked, Hundert continues the contest, but asks Sedgewick Bell who Shutruk Nahunte was, knowing Nahunte isn't in any textbooks. Both Bell and the man on the headset are stumped, but Mehta quickly recites the plaque that was above Hundert's wall, and wins the contest again. Hundert goes to the bathroom to collect himself, and Bell walks in, engaging Hundert in pleasant conversation, which Hundert uses to confront Bell. Suddenly Bell's demeanor changes and he becomes defensive and spiteful, telling Hundert that he doesn't care for Hundert's principles and virtue, because it's all a bunch of bull****. Bell reveals he lives in a world where "people do what they do to get what the want." Suddenly, Bell's son emerges from a stall with a shocked look on his face, and quietly walks out. Bell is left speechless and embarrassed, knowing he just revealed himself to be a cheater and liar in front of his son. Hundert quietly retires to his room, and wakes up the next morning expecting to find his students down at breakfast. Reading a note they left wishing him well, and disappointed by their absence, he prepares to leave, but they throw a surprise party in his room when he returns, and Hundert later admits to a now-grown Martin Blythe that he allowed Bell to unfairly sneak over him in the Mr. Julius Caesar contest years earlier.Upon returning to his home, he decides to return to St. Benedict's, now a co-ed school, as a teacher of the Classics. It shows a fresh new batch of students, including Martin Blythe's son. Seeing Martin Blythe outside his classroom window and exchanging a friendly wave, Hundert has Blythe's son read Shutruk Nahunte's plaque, just as his father did years earlier.

The Emperor's Club

396cdf24-91ef-71c2-7743-7db35b085425

What is Hundert's new student's name?

/m/027njn

Professor William Hundert is a distinguished Classics history teacher at St. Benedict's Academy for Boys. Another year is beginning, and the students file in and introduce themselves. Hundert has a certain plaque above his door he requires one student, Martin Blythe to read. The plaque states: "I am Shutruk Nahunte, King Anshand and Sussa, sovereign of the land of Elam. By command of Ishushinck I destroyed Sippar, took the stele of Niran-Sin, and brought it back to Elam, where I erected it as an offering to my god, Inshushink." He requires his students to look up Shutruk Nahunte, then stops them, saying they won't find it in any history book, because Nahunte is not any. Hundert then says that Nahunte was virtually forgotten because "Ambition and conquest without contribution is without significance." Then he challenges his students, saying "What will your contribution be? How will history remember you?" which becomes the theme of the film. A friendly relationship between Hundert and fellow teacher Elizabeth is also introduced, as she has returned from Greece and presents Hundert with a snow globe of the Parthenon.A new student enter the fray shortly after, a certain Sedgewick Bell, the son of a senator from West Virginia. The cocky Bell starkly contradicts the principled Hundert, and various acts of rebellion lead to much tension between the two. As Bell's attitude worsens, and Hundert unable to straighten him, Hundert feels forced to travel to Washington D.C. and have a word with Senator Bell, Sedgewick's father. The Senator shows a surprising amount of apathy in his son's character development, and reprimands Hundert, telling him that Hundert's job is to teach him facts out of a text book, but not to influence him as a person. Hundert dejectedly returns to St. Benedict's and begins preparations for a certain "Mr. Julius Caesar" contest. The three finalists are determined by a series of essays given by Hundert, and the three highest net scores proceed to the finals, where they stand on stage in togas and answer trivia questions about ancient Roman history. During the course of the essays, Hundert surprisingly sees a changed Bell, one who begins working hard in his studying and overachieves Hundert's expectations. After Hundert completes the grading of the essays, Deepak Mehta, Louis Masoudi, and Martin Blythe have the highest score. However, wanting to reward a newly-dedicated Bell, Hundert alters his grade, putting him ahead of Blythe.The Mr. Julius Caesar contest arrives and Masoudi, Mehta, and Bell are pitted against each other. Masoudi quickly misses a question and is forced to sit, leaving Bell and Mehta to duel each other for the crown. Both do surprisingly well, much to Hundert and Bell's father's excitement. However, Hundert notices Bell does a peculiar motion whenever he is asked a question, where he put his hands over his eyes. Hundert speculates Bell is cheating and quietly asks the headmaster what to do. Contradictory to Hundert's principles, the headmaster tells Hundert to allow it. Knowing Mehta read an extra-curricular book about Hamilcar Barca, who is not in the assigned textbooks, Hundert asks Bell a question about him. Surely enough, Bell can't answer and Mehta wins the crown of Mr. Julius Caesar. Hundert visits Bell later and discovers that Bell indeed was cheating, having taped notecards of the question on his toga, out of sight to anyone but him. Hundert keeps the incident to himself but the trust and respect he had developed for Sedgewick has been broken. Hundert feels he has failed as a teacher, especially considering he disallowed Blythe from participating. Twenty-five years later, Hundert and Elizabeth are married, and the headmaster of St. Benedict's has passed away. Thinking he'll take the vacated position, Hundert is shocked to discover a fellow teacher has been given the privilege of being named the headmaster, because the Board believes he's a better fundraiser. Hundert immediately tenders his resignation, much to the Board's chagrin, and retires. Shortly after, Hundert receives a letter inviting him to a class reunion, one that a now-successful and wealthy Sedgewick Bell is hosting. Also, if Hundert agrees to come and host a rematch of the Mr. Julius Caesar contest, Bell will donate a large amount of money to the school. Agreeing to this, Hundert arrives at Bell's estate, where an enthusiastic Bell greets Hundert. Before the rematch begins, Bell speaks of Hundert's dignity and how much Hundert taught him, in spite of his rebellious nature. Then, Bell reveals his attentions to succeed his late father and run for Senator, and the contest begins.Once again Masoudi loses on the first question and Mehta and Bell duke it out again. Both again do surprisingly well, but Hundert catches a glimpse of an earpiece in Bell's ear, then looks to the back and sees a man on a headset looking in books. Shocked, Hundert continues the contest, but asks Sedgewick Bell who Shutruk Nahunte was, knowing Nahunte isn't in any textbooks. Both Bell and the man on the headset are stumped, but Mehta quickly recites the plaque that was above Hundert's wall, and wins the contest again. Hundert goes to the bathroom to collect himself, and Bell walks in, engaging Hundert in pleasant conversation, which Hundert uses to confront Bell. Suddenly Bell's demeanor changes and he becomes defensive and spiteful, telling Hundert that he doesn't care for Hundert's principles and virtue, because it's all a bunch of bull****. Bell reveals he lives in a world where "people do what they do to get what the want." Suddenly, Bell's son emerges from a stall with a shocked look on his face, and quietly walks out. Bell is left speechless and embarrassed, knowing he just revealed himself to be a cheater and liar in front of his son. Hundert quietly retires to his room, and wakes up the next morning expecting to find his students down at breakfast. Reading a note they left wishing him well, and disappointed by their absence, he prepares to leave, but they throw a surprise party in his room when he returns, and Hundert later admits to a now-grown Martin Blythe that he allowed Bell to unfairly sneak over him in the Mr. Julius Caesar contest years earlier.Upon returning to his home, he decides to return to St. Benedict's, now a co-ed school, as a teacher of the Classics. It shows a fresh new batch of students, including Martin Blythe's son. Seeing Martin Blythe outside his classroom window and exchanging a friendly wave, Hundert has Blythe's son read Shutruk Nahunte's plaque, just as his father did years earlier.

The Emperor's Club

2c168417-e3b6-7ebb-2f1e-779f2f71ed6a

Where does Hundert take a trip?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

dac44e0f-64b4-d935-d707-87c2aa09ee7a

What do George and Kenny do together?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

5754a0b6-12bf-5829-df56-0f640d2425cc

Why has Kenny fallen asleep holding George's gun?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

148dcd24-f113-5e9f-ba0d-13fa250a4169

How long os George and Jim's relationship?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

ec4a6e3b-69dd-7b28-7620-22e7f0de93ee

What date does the film take place?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

df6e5b9c-3cfb-4b45-0abd-a59c92b3a60a

Who is George's friend?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

b1837399-22b8-968e-edd3-73d843438bbc

Who is George's longtime partner?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

ea99137f-f791-edc4-b87a-7e2f9b705a5f

How long was George and Jim's relationship?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

060d4bcf-101f-92cd-7b91-052aa72dc073

Where did George go?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

76ce469b-816f-1b3a-1ecc-6a1c0c6351b0

Who calls George ?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

6656c2f6-5ae9-07a0-604c-0a8760fa2c88

What do George and Kenny do after having drinks?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

b432d3c0-33de-1f23-5120-2d804239da4b

Who follows George to the bar?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

b1fcdea4-e64a-76ed-ab74-4a5b95ca4a6c

George Falconer is played by what actor?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

85049df2-19a5-1ae3-d417-127aaf4e7129

Who followed George?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

fc849a86-d5a1-8ee8-32a3-f7ea93610b28

What is the profession of the Single Man?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

2f4f1a84-8afc-5095-af06-2753a43136ee

What profession does Jon Kortajarena have in the movie?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

0205129e-fba3-abe4-035d-e6343e7f74ba

Why did Kenny fall asleep holding George's gun?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

e9c43a3c-6695-2109-85f9-846e45a950ac

Who angers George with their lack of understanding?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

62068bf3-2e4b-c9f7-a2fc-5c807341f4f3

How does George die?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

f294e2b7-c714-e1ef-9324-94d133848069

Where do George and Kenny meet?

/m/07l50_1

George Falconer (Colin Firth) approaches a car accident in the middle of a snow-white scenery. There is a bloodied man there and he kisses him. He wakes up: he was dreaming about the moment when his partner of 16 years, Jim (Mathew Goode), died--though he was not there with him because Jim was visiting his disapproving family on his own. George remembers the phone ringing on that fateful day, when Jim's cousin told him about the fatal accident, and how George was not welcome to attend the funeral, because of the family's homophobia (common for the period and later). George remembers breaking down to Charley (Julianne Moore) that day, his best friend from his life in London, who had also relocated to LA; once briefly sexually attached to George before he was completely honest with himself, she may still feel attracted to him.George showers and dresses. It's November 30, 1962, the eve of the Cuban missile crisis. Though British, he is now a professor of English at UCLA. He is depressed, never having recovered from his loss; and when he leaves for work, he packs a gun in his briefcase.He tells his cleaning lady Alva (Paulette Lamori) that she has always been wonderful - in spite of her having forgotten to take out the bread from the fridge. George hugs her, which leaves her utterly confused.On campus, George notices a couple of students, chain-smoking Lois (Nicole Steinwedell) and a boy. One of the secretaries (Keri Lynn Pratt) tells him that she has given his address to some nice new student; it turns out to be this boy, Kenny Potter (Nicholas Hoult), who talks to him after class about the speech George has just given out in the classroom concerning minorities and fear. Kenny discusses recreational drug use with Kenny who tells him that he had never heard George express himself so openly in class as he had that day. He buys George a pencil sharpener as a token of gratitude for George's talking with him.George phones Charley, who is dressing for the dinner they have planned at her home. George gets into his car, and picks his gun after having cleaned up his office. However, Kenny appears once again, and invites him to go for a drink, observing George's depression and having noticed that he has cleaned out the desk in his office. George tells him it will have to be some other time. He goes to the bank to pick up various things from his safe deposit box, and when looking at a photo of his deceased lover, recalls a conversation with him on the beach.After buying some bullets, he goes to a convenience store. There, Carlos (Jon Kortajarena) bumps onto him, breaking the bottle of Scotch he has just bought. George buys a new bottle of Scotch and they talk. They smoke a few cigarettes and drink a bottle of gin together. George leaves, refusing Carlos' offer of company, saying that this is a serious day for him and that he's trying to get over an old love.At home, he puts on a record and remembers a conversation with Jim while each one was reading a different book on a couch. He pretends shooting himself as practice for later that night, but in a semi-comic scene, can't find the best position in which to accomplish it. Charley calls to remind him of their dinner plans, which he grudgingly attends after leaving a note and some money for Alva. They dance and talk about London, life, Charley's ex-husband's abandonment, and she offends George by suggesting that they might have had a "normal" life together if he hadn't been a "poof." Charley says George doesn't look well, reminding him of the heart attack he suffered near the time of Jim's death. Charley tries to convince George to spend the night at her home, but he leaves.The scene flashes back to 1946 when Jim and George had met when at a bar. Jim was on leave from the Army, right after the second world war. Returning to1962, we see George returning to the same bar, near his home; now a quiet place where he asks for a Scotch.Kenny has followed him there. They talk and then go to the beach and swim naked. They go to George's place. As George's forehead is bleeding, Kenny tends to it, and sees in the medicine's cabinet a nude photo of Jim. George sees Kenny strip off his wet clothes, but does nothing. Kenny says that he and Lois are not romantically involved. Not unlike George and Charley in the distant past, Kenny explains that they had a brief sexual liason. Kenny and George do not have sex, and Kenny stays on the couch, given the very late hour.George wakes in a few hours, and finds his gun under Kenny's covers and removes it, locking it up as Kenny sleeps. When he returns to bed, George dies of a heart attack, seeing the image of Jim kissing his forehead.

A Single Man

4fdb53f1-a7d4-12ae-d5de-41ed1041500b

What is Carlos' profession?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

7ad85834-8bb1-1cff-5e44-4228b295bfad

What does the actress order?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

fedf4e29-bb8a-75ff-2ac4-a8c8b8a34b90

Why does Mike not want to act in commercials?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

38d8cb82-e2ae-63fc-1e09-3d41ebbba1d2

What kind of routine does Mike launch into?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

b079907c-7468-b0db-8151-eda621aebdd6

What is mike attending?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

909e8f43-ed56-d4ab-d2de-10dcb8bf44e0

Why does the director tell Mike not to audition for the commercial?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

d70d74eb-c34e-d8d7-779d-8569a0deb234

According to Mike's resume, what can he do?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

0b1794ae-394c-3ff3-a600-f70ba9cc2f58

What kind of accent does he use?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

0f46b9bb-bf82-e5e3-7ac2-e291f948f48e

What does the commercial director recommend Mike audition for?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

5312f3be-3b0c-154c-b6b5-edfd0f793514

Who is at a booth in a diner?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

94f286a9-6850-ac55-5671-264fcbd4f3ab

Who expressed interest?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

e33a2d10-5b02-4490-aec7-12e7de461b4a

Which accent was missing?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

78d9b1cd-98b0-ece3-5d49-6db6af8de6b9

What is the actress's suggestion to Mike?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

01f088c7-eafe-d0f0-e385-06b3eee18c03

Who goes to another audition and reads a Cuban accent?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

83b38d38-4525-2a35-7dc1-0733b9e1eb57

What does Mike realize his father wanted him to be?

/m/052bwr

A man (Vin Diesel) wearing a sleeveless white undershirt and black hat is speaking in an thick Italian-American accent, with accompanying gestures and body movements. He says there are no good women out there, then tells a story. He took his girlfriend out to dinner and struck a stranger who seemed to have been flirting with her. Upon realizing the stranger was gay, he concluded that his girlfriend was flirting, took her outside and beat her. The storyteller concludes by expressing his confusion that she doesn't call anymore, re-enforcing his theme that there are no good girls available.Across the room, a man (Lewis Steidl) asks if Mike (the storyteller) can speak Italian. Mike repeats a few commonly-heard phrases. Holding up a headshot photo of Mike, he asks who Mike's agent is - it is clear that the story was an audition for an acting job. The man impassively says for Mike to call with the info, indicating the end of the interview. The woman (Cara Gaffen) sitting at the table stops Mike for a moment asking who wrote the monologue. Mike claims it is a true story.At a streetside payphone, Mike speaks with only a slight New York accent to his manager, assuring him that he followed his instruction to claim the monologue was a true story. As he speaks, he wipes his bicep with alcohol to remove a mark evidently placed to make him convincing in the role. He worries about the offensiveness of the story, complaining that such an attitude won't win an Oscar. He laughs into the phone and says Joe Pesci was different.Next Mike walks into a waiting room, encountering a black friend Ivan (Phillip Jones) who is also there to audition. As Mike dons a shirt and adds an earring, they discuss making commercials, a source of income for struggling actors. Mike says that real actors like Pacino and Denzel don't do them, while Ivan expresses willingness for any paying job. Mike relates his concerns about the offensive audition.They are interrupted by a black man (Ivan Jordain) who looks surprised at Mike's appearance. He apologetically explains that Mike is too light skinned for the part. Mike thanks him for his honesty. Greg promises to call him for something that he would fit, and mentions a job next week which requires Hispanics. Mike leaves.In another waiting room, a woman (Ruth Otero) and a man (F. Valentino Morales) on a sofa are studying a script. The man mumbles the lines to himself, some English and some Spanish. Mike walks in wearing a red muscle shirt. A man quickly enters from the office, calling Yvette and then asking Mike if he has read the sidebars. Mike looks dubiously at the sofa, and says he is ready.Holding pages, the woman and Mike act out a heated argument. Mike is convincingly doing a Pacino-as-Scarface accent, until the woman shouts at him in Spanish. Mike looks at her. He looks at the pages. Looks at her. Looks at the pages.Mike steps out of a building onto the sidewalk. Yvette joins him moments later, expressing surprise that his family doesn't speak Spanish at home. She compliments his acting, and mentions a soap opera with several roles he would fit. He is not interested, explaining that real actors like Marlon Brando and Sidney Poitier didn't do soaps.Mike is now sitting in another waiting area. He is listening to rap on his headphones, nodding his head as he reads the script. A black woman comes out, telling him that they loved his tape and giving instructions. She reads with him as he does a street thug audition. The black men thank him, then after his exit explain to the woman that they want "more of a Wesley type" (Wesley Snipes, with his dark, almost ebony complexion.)After the interview, Mike is again on a payphone talking to his manager, this time about a music video. Mike explains he has gone there "like 3000 times", and did a tape, and points out that real actors-- it is evident that his manager interrupts Mike twice so that he can't give his usual plaint.Mike waits in the hallway outside the music video office. An actress comes out, fumbling her things as she stuffs them into her bag, and explains that it's "not so nice" in there.Inside, a woman says they liked his tape and he should do more of the same. However, the director stops her and asks if Mike can rap as indicated on his resume. Mike does a short bit, ending with an amusing use of the common actor's favorite line, Brando's "Stella!" The director is disappointed to hear that Mike is not pursuing rap.The hearers are pleased and ask him to perform whatever he has ready. Mike tells a poignant story of growing up watching his black father act. He says he didn't realize his father's message until he died. His father didn't want him to follow in his footsteps and become a black actor. He wanted him to be an actor.When he finishes, his listeners are stunned. The director points out how different it was from his audition tape (which was obviously preferred.) Finally, the director gives a brush off speech, that they need someone with long hair, dreadlocks, etc. As Mike leaves the office, the casting agent runs out to him, expressing her admiration.In a diner that night, Mike overhears a girl saying that she gets turned down for parts because she is either too wholesome or too "bimbo-y". She then orders coffee ... not too light, not too dark.Mike is struck by this. He mouths the words "not too light, not too dark" to himself.

Multi-Facial

e915cff5-8606-1f59-db03-41f95d6cf83b

What is Mike doing?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

af1c7cf9-131c-3908-8688-3de15318e7b6

who does alma find in the garden?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

1d648923-a29c-8e20-5e73-f737beec8048

what photo does elizabet find in her book?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

33f788cb-404c-70c5-52de-9afb11baf9c2

what does the boy in the hospital wake up next to?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

31a0b177-1a0e-b237-886f-bae61b9e4000

what does alma discover in elisabet's letters?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

c61bc655-6ae5-fe8b-aa49-a7884eeca700

what photos does elizabeth see in a book?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

753d2abd-cbaf-1b58-453c-f2d486193810

who has scars on her face that she covers with makeup?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

4dd6ea80-446e-348e-7955-9936738bb03f

what body part does elizabet hit on alma?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

c7f9a6a0-3d06-4a43-5c44-1effe1d5434e

what state is elisabet in at the end of the movie?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

3b991a73-ce6b-b519-66a3-c7d178adacb5

What makes Elisabeth panic?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

210abbe0-3e94-c177-61c2-481a0eed1ce6

who stares at the photograph?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

6c4fcce1-d995-2121-1b43-3b4a2daf1db2

who mistake alma for elisabeth

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

8f2c8880-1f64-b3fb-66d7-02f685a6d4cd

why does alma leave the shards on the footpath?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

ed50fd17-4ef2-84df-9d03-166db9727734

what animal is slaughtered in the beginning of the story?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

f2de5f07-a12b-dd66-3c94-29bb22c0b1ba

Who flew into a rage?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

b0bab5c9-2c7e-6eb1-c6dc-5c5db3f479da

what does alma do with the baby?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

15f5dede-df17-05c7-fb96-2aacf5559454

who is mr. vogler?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

90046da8-fb77-4116-a239-9fffb039a194

Who leaves the cottage alone?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

15f65de1-0d63-4573-d0e8-a7826cc81b30

what is alma's profession?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

e41dafbf-4bb3-72ca-2e3a-cb850982bdbd

What does Elisabet cover with makeup?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

d1d76dda-c8c1-73e8-face-ee7ad79447a3

what does alma break on the footpath?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

7d8a0a11-51d9-1900-de09-8e4511d1780b

who took elisabet's letters?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

08f1b263-3c35-644b-ec95-6dbbc4df4d97

what does elisabet become despite having no diagnosed illness?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

1c202af3-4a1d-762f-f76a-c59def5700a6

what is the problem with stage actress elisabet vogler?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

9fa70483-d001-958f-d881-593b5d5b7874

who flew into a rage?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

961ce76f-d061-6354-3a2c-a8393e266e4f

what does elisabet's husband include in his letter to her?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

060edff3-6dfa-1fcb-789b-56e7a37ead2d

who says: "you are inaccessible. they said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. you act it so well everyone believes it, everyone except me, because i know how rotten you are inside."

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

345d20fd-9167-b818-5952-712239df99b2

who leaves the cottage alone?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

b5a59e59-c236-a340-ab7a-cee3b9f49e97

what does elisabet cover with makeup?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

43d715ec-07ed-6b03-8886-9bb8b231470c

Alma likes underage boys?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

3b28e45c-4a49-05fa-74ff-028f4732fc46

what makes elisabeth panic?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

3383783a-e24f-dd09-e226-3249f351808c

who packs her bags and leaves the cottage?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

ad940adb-fc16-25c8-43b3-58159fa07c24

who makes repeated efforts to abort the fetus?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

7a254877-23cf-36d1-480d-5c4302d65f7d

what does mr. vogler say to alma?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

7826a7c4-11c4-9cdd-68a4-d0ee692e6542

alma likes underage boys?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

4f7d0bc5-3a7e-6c9c-10b9-ab83de13c68b

who takes elisabet's letters for the postbox?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

5c3b2ed0-62a1-2751-605f-df7b57866fe0

where were the jews arrested?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

0d816b55-0074-c3aa-154c-4c909a534e3a

what is alma's job

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

33b866c8-7001-287e-f89b-4c461852043e

what is elisabet's profession?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

6728d86b-0166-bf41-96e2-415c894ce7b5

who becomes pregnant?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

b84f1cda-b8d7-d6e0-2068-2e1277236c92

what does alma break?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

8921942b-71ee-8424-8d4e-6e77e8e7d677

who hears a man yelling outside?

/m/0318zh

Persona begins with images of camera equipment and projectors lighting up and projecting dozens of brief cinematic glimpses, including a crucifixion, an erect penis, a tarantula spider, clips from a comedic silent-film reel first seen in Bergman's Prison (depicting a man trapped in a room, being chased by Death and Satan), and the slaughter of a lamb. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time ("Vår Tids Hjälte" in the film), and caressing a blurry, transient image that shifts between Elisabet and/or Alma's faces. A young nurse, Alma (portrayed by Bibi Andersson), is summoned by the head doctor and charged with the care of stage actress Elisabet Vogler (portrayed by Liv Ullmann), who has, despite the lack of any diagnosed impairment, become mute. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self-immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non-responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fiancé, Karl-Henrik, who scolds her for lacking ambition – "though not with my career, I suppose in some greater way." Alma constantly compares herself to Elisabet and begins to grow attached to her. As the act closes, Alma confesses to cheating on her fiancé in a ménage à quatre with underage boys. She became pregnant, and had Karl-Henrik's friend abort the baby; "and that was that". She is not sure how to process the abortion mentally. Elisabet is heard to say "You ought to go to bed, or you'll fall asleep at the table", but Alma dismisses it as a dream. Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and "studying" her. Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: "Forcibly pulled out of dug-outs" When the film resumes, it is following Elisabet through the house with a thick blur on the lens. The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail "No!" Alma explains that Elisabet wouldn't have spoken had she not feared death. Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside." Elisabet tries to walk away, but Alma pursues and continues to accost her. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Mr. Vogler (portrayed by Gunnar Björnstrand) mistakes Alma for his wife, and despite her repeatedly interjecting with "I'm not your wife", delivers a monologue about his love for her and the son they have together (repeating words he wrote to Elisabet in the opening act – "We must see each other as two anxious children"). Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her "Elisabet, you have it virtually all in your armory as woman and artist. But you lack motherliness." She laughs, because it sounds silly, but the idea sticks in her mind, and she lets her husband impregnate her. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says "Isn't she beautiful? She has never been so beautiful", but Elisabet makes repeated attempts to abort the fetus. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Alma panics and cries "I'm not like you. I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you!" In a dreamlike sequence, Alma - dressed in her nurse's uniform - comes to the bed of Elisabet and tells her to say "nothing". Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split-screen image of Elisabet and Alma.

Persona

9df946ec-faf9-939b-2373-5cc6ef44a284

Who says: "You are inaccessible. They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside."

/m/01fxw4

Danny Noonan (Michael O'Keefe) works as a caddy at the upscale Bushwood Country Club to raise enough money to go to college. Danny often caddies for Ty Webb (Chevy Chase), a free-spirited lothario, talented golfer, and the son of one of Bushwood's co-founders. Danny decides to gain favor with Judge Elihu Smails (Ted Knight), the country club's arrogant co-founder and director of the caddy scholarship program, by caddying for him. Meanwhile, Carl Spackler (Bill Murray), one of the greenskeepers, is entrusted with combatting a potentially disastrous gopher infestation. Throughout the film, Carl tries a variety of methods to kill the gopher (e.g. shooting, drowning) without success. Al Czervik (Rodney Dangerfield), a fiery, foulmouthed, disrespectful, libidinous ethnic hunk of pure nouveau riche, looked down upon by Judge Smails, begins appearing at the club. Smails is heckled by Czervik as he tees off, causing his shot to go badly wrong. Smails eventually throws a putter away in anger and accidentally injures a member of the club. Danny takes responsibility for the incident, as a ploy to gain Smails' trust. Smails encourages him to apply for the caddy scholarship. At Bushwood's annual Fourth of July banquet, Danny and his girlfriend Maggie (Sarah Holcomb) work as servers. Czervik continues to frustrate Smails with his loutish behavior, while Danny becomes attracted to Lacey Underall (Cindy Morgan), Smails' promiscuous niece. Danny wins the Caddy Day golf tournament and the scholarship, earning him praise from Smails and an invitation to attend the christening ceremony for his boat. The boat is sunk at the event after a collision with Czervik's larger boat. On returning, Smails discovers Lacey and Danny having a tryst at his house. Expecting to be fired or to have the scholarship revoked, Danny is surprised when Smails only demands that he keep the incident a secret. Unable to tolerate the continued presence of the fast-talking Czervik, Smails confronts him and announces that Czervik will never be granted membership. Czervik counters by announcing that he would never consider being a member: he insults the place and is merely there to evaluate buying Bushwood and developing the land into condominiums. After a brief altercation and exchange of insults, Ty Webb suggests they discuss a resolution over drinks. After Smails demands satisfaction, Czervik proposes a team golf match with Smails and his regular golfing partner Dr. Beeper against Czervik and Webb. Against club rules, they also agree to a $20,000 wager ($57,400 today), quickly doubled to $40,000 ($114,900 today), on the outcome of the match. That evening, Webb practices for the game against Smails and meets Carl, where the two share a bottle of wine and a spliff. The match is held the following day. Word spreads of the stakes involved and a crowd builds. During the game, Smails and Beeper take the lead, while Czervik, to his annoyance, is "playing the worst game of his life". He reacts to Smails' taunts by impulsively redoubling the wager to $80,000 ($229,800 today) per team. When his own ricocheting ball strikes him, Czervik feigns injury in hopes of having the contest declared a draw. Lou (Brian Doyle-Murray), the course official who is acting as an umpire, tells Czervik his team will forfeit unless they find a substitute. When Webb chooses Danny, Smails threatens to revoke the scholarship, but Czervik promises Danny that he will make it "worth his while" if he wins. Danny eventually decides he would rather beat the haughty, sadistic Smails than take the scholarship. By the time they reach the final hole, the score is tied. At the climax of the game, with Danny about to attempt a difficult putt to win, Czervik again redoubles the wager to $160,000 per team ($459,500 today). Danny's putt leaves the ball hanging over the edge of the hole. At that moment, Carl, in his latest attempt to kill the gopher, detonates a series of plastic explosives that he has rigged around the entire golf course. The explosions shake the ground and cause the ball to drop into the hole, handing Danny, Webb, and Czervik the victory. Smails refuses to pay, so Czervik beckons two muscular men, named Moose and Roco, to "help the judge find his checkbook". As Smails is chased around the course, Czervik leads a bacchanal attended by all of the onlookers at the match, shouting, "Hey everybody! We're all gonna get laid!" The gopher emerges, unharmed by the explosives, and dances to the closing song amid the smoldering ruins of the golf course.

Caddyshack

e146dd79-8e9d-639d-624a-f0935e9f3034

Who is the competition between at the Bushwood country club ?

/m/01fxw4

Danny Noonan (Michael O'Keefe) works as a caddy at the upscale Bushwood Country Club to raise enough money to go to college. Danny often caddies for Ty Webb (Chevy Chase), a free-spirited lothario, talented golfer, and the son of one of Bushwood's co-founders. Danny decides to gain favor with Judge Elihu Smails (Ted Knight), the country club's arrogant co-founder and director of the caddy scholarship program, by caddying for him. Meanwhile, Carl Spackler (Bill Murray), one of the greenskeepers, is entrusted with combatting a potentially disastrous gopher infestation. Throughout the film, Carl tries a variety of methods to kill the gopher (e.g. shooting, drowning) without success. Al Czervik (Rodney Dangerfield), a fiery, foulmouthed, disrespectful, libidinous ethnic hunk of pure nouveau riche, looked down upon by Judge Smails, begins appearing at the club. Smails is heckled by Czervik as he tees off, causing his shot to go badly wrong. Smails eventually throws a putter away in anger and accidentally injures a member of the club. Danny takes responsibility for the incident, as a ploy to gain Smails' trust. Smails encourages him to apply for the caddy scholarship. At Bushwood's annual Fourth of July banquet, Danny and his girlfriend Maggie (Sarah Holcomb) work as servers. Czervik continues to frustrate Smails with his loutish behavior, while Danny becomes attracted to Lacey Underall (Cindy Morgan), Smails' promiscuous niece. Danny wins the Caddy Day golf tournament and the scholarship, earning him praise from Smails and an invitation to attend the christening ceremony for his boat. The boat is sunk at the event after a collision with Czervik's larger boat. On returning, Smails discovers Lacey and Danny having a tryst at his house. Expecting to be fired or to have the scholarship revoked, Danny is surprised when Smails only demands that he keep the incident a secret. Unable to tolerate the continued presence of the fast-talking Czervik, Smails confronts him and announces that Czervik will never be granted membership. Czervik counters by announcing that he would never consider being a member: he insults the place and is merely there to evaluate buying Bushwood and developing the land into condominiums. After a brief altercation and exchange of insults, Ty Webb suggests they discuss a resolution over drinks. After Smails demands satisfaction, Czervik proposes a team golf match with Smails and his regular golfing partner Dr. Beeper against Czervik and Webb. Against club rules, they also agree to a $20,000 wager ($57,400 today), quickly doubled to $40,000 ($114,900 today), on the outcome of the match. That evening, Webb practices for the game against Smails and meets Carl, where the two share a bottle of wine and a spliff. The match is held the following day. Word spreads of the stakes involved and a crowd builds. During the game, Smails and Beeper take the lead, while Czervik, to his annoyance, is "playing the worst game of his life". He reacts to Smails' taunts by impulsively redoubling the wager to $80,000 ($229,800 today) per team. When his own ricocheting ball strikes him, Czervik feigns injury in hopes of having the contest declared a draw. Lou (Brian Doyle-Murray), the course official who is acting as an umpire, tells Czervik his team will forfeit unless they find a substitute. When Webb chooses Danny, Smails threatens to revoke the scholarship, but Czervik promises Danny that he will make it "worth his while" if he wins. Danny eventually decides he would rather beat the haughty, sadistic Smails than take the scholarship. By the time they reach the final hole, the score is tied. At the climax of the game, with Danny about to attempt a difficult putt to win, Czervik again redoubles the wager to $160,000 per team ($459,500 today). Danny's putt leaves the ball hanging over the edge of the hole. At that moment, Carl, in his latest attempt to kill the gopher, detonates a series of plastic explosives that he has rigged around the entire golf course. The explosions shake the ground and cause the ball to drop into the hole, handing Danny, Webb, and Czervik the victory. Smails refuses to pay, so Czervik beckons two muscular men, named Moose and Roco, to "help the judge find his checkbook". As Smails is chased around the course, Czervik leads a bacchanal attended by all of the onlookers at the match, shouting, "Hey everybody! We're all gonna get laid!" The gopher emerges, unharmed by the explosives, and dances to the closing song amid the smoldering ruins of the golf course.

Caddyshack

a95560a9-0bcd-2280-d9a0-18ca0b73d0e4

What's the name of the real estate developer who intrudes ?

/m/01fxw4

Danny Noonan (Michael O'Keefe) works as a caddy at the upscale Bushwood Country Club to raise enough money to go to college. Danny often caddies for Ty Webb (Chevy Chase), a free-spirited lothario, talented golfer, and the son of one of Bushwood's co-founders. Danny decides to gain favor with Judge Elihu Smails (Ted Knight), the country club's arrogant co-founder and director of the caddy scholarship program, by caddying for him. Meanwhile, Carl Spackler (Bill Murray), one of the greenskeepers, is entrusted with combatting a potentially disastrous gopher infestation. Throughout the film, Carl tries a variety of methods to kill the gopher (e.g. shooting, drowning) without success. Al Czervik (Rodney Dangerfield), a fiery, foulmouthed, disrespectful, libidinous ethnic hunk of pure nouveau riche, looked down upon by Judge Smails, begins appearing at the club. Smails is heckled by Czervik as he tees off, causing his shot to go badly wrong. Smails eventually throws a putter away in anger and accidentally injures a member of the club. Danny takes responsibility for the incident, as a ploy to gain Smails' trust. Smails encourages him to apply for the caddy scholarship. At Bushwood's annual Fourth of July banquet, Danny and his girlfriend Maggie (Sarah Holcomb) work as servers. Czervik continues to frustrate Smails with his loutish behavior, while Danny becomes attracted to Lacey Underall (Cindy Morgan), Smails' promiscuous niece. Danny wins the Caddy Day golf tournament and the scholarship, earning him praise from Smails and an invitation to attend the christening ceremony for his boat. The boat is sunk at the event after a collision with Czervik's larger boat. On returning, Smails discovers Lacey and Danny having a tryst at his house. Expecting to be fired or to have the scholarship revoked, Danny is surprised when Smails only demands that he keep the incident a secret. Unable to tolerate the continued presence of the fast-talking Czervik, Smails confronts him and announces that Czervik will never be granted membership. Czervik counters by announcing that he would never consider being a member: he insults the place and is merely there to evaluate buying Bushwood and developing the land into condominiums. After a brief altercation and exchange of insults, Ty Webb suggests they discuss a resolution over drinks. After Smails demands satisfaction, Czervik proposes a team golf match with Smails and his regular golfing partner Dr. Beeper against Czervik and Webb. Against club rules, they also agree to a $20,000 wager ($57,400 today), quickly doubled to $40,000 ($114,900 today), on the outcome of the match. That evening, Webb practices for the game against Smails and meets Carl, where the two share a bottle of wine and a spliff. The match is held the following day. Word spreads of the stakes involved and a crowd builds. During the game, Smails and Beeper take the lead, while Czervik, to his annoyance, is "playing the worst game of his life". He reacts to Smails' taunts by impulsively redoubling the wager to $80,000 ($229,800 today) per team. When his own ricocheting ball strikes him, Czervik feigns injury in hopes of having the contest declared a draw. Lou (Brian Doyle-Murray), the course official who is acting as an umpire, tells Czervik his team will forfeit unless they find a substitute. When Webb chooses Danny, Smails threatens to revoke the scholarship, but Czervik promises Danny that he will make it "worth his while" if he wins. Danny eventually decides he would rather beat the haughty, sadistic Smails than take the scholarship. By the time they reach the final hole, the score is tied. At the climax of the game, with Danny about to attempt a difficult putt to win, Czervik again redoubles the wager to $160,000 per team ($459,500 today). Danny's putt leaves the ball hanging over the edge of the hole. At that moment, Carl, in his latest attempt to kill the gopher, detonates a series of plastic explosives that he has rigged around the entire golf course. The explosions shake the ground and cause the ball to drop into the hole, handing Danny, Webb, and Czervik the victory. Smails refuses to pay, so Czervik beckons two muscular men, named Moose and Roco, to "help the judge find his checkbook". As Smails is chased around the course, Czervik leads a bacchanal attended by all of the onlookers at the match, shouting, "Hey everybody! We're all gonna get laid!" The gopher emerges, unharmed by the explosives, and dances to the closing song amid the smoldering ruins of the golf course.

Caddyshack

4442635c-d3bb-7ae2-1843-1f57794fda4f

Who is the judge at the event ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

f1759340-b2c6-b480-94c4-7eb8c183ce07

What does Nick Miller teach?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

944299a6-81ec-b7d4-7588-2d453be403fd

Who tries to shoot down Nick's plane ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

43b2f287-626e-b61f-0cfb-0138389bcb70

Who does JK see Nick as ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

ad7285d1-a28c-e434-9f74-23c5dbba9202

What do Nick and Lisa do after they meet ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

989152d2-ee6d-f886-6013-77ab690d5137

What does another trip to 2041 reveal ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

3f97449d-67f1-75c2-eb7c-2ad7f9d702e0

Who plays Nick Miller?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

b8f56a7a-dae3-ea62-6bc2-afd3f3cbbdaa

How does the film end ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

83550ece-d035-a571-452f-ab692d02dd20

How do Nick and Lisa spend the remainder of the film ?

/m/03tdny

Nick Miller has discovered the key to time-travel. Using a small plane located at his local airport in Vermont, the local college professor manages to fly 50 years into the future, and return to the present day (1991).Hoping to capitalize on this discovery, Nick places two calls: -the first call is to a local company called GenCorp, with Nick claiming he's developed a new fuel-efficient engine. -the second call is to the local newspaper, where Nick claims his Grandmother is going to skydive for the first time.The next day, Nick meets Matthew Paul from GenCorp, and Lisa Henson from the newspaper. Nick is surprised to see Lisa as they both went to school together long ago. After coaxing both of them into his airplane, Nick then tells them about his discovery of Time-Travel. Though Matthew is apprehensive, Lisa suggests they go 50 years in the future.Nick manages to take them to 2041. After landing, he shows them all that has changed. Nick also claims that he wishes to obtain an R&D; grant because of his discovery, as he is currently out of money. Matthew then explains that once they get back, he intends to tell the head of GenCorp about Nick's discovery as soon as possible.Some time after the three have returned, Matthew makes good on his promise, and Nick shows his discovery to the head of GenCorp, J.K. Robertson. Robertson immediately wishes to do business with Nick, and also offers a position at GenCorp to Lisa. However, Lisa refuses and cautions Nick that associating with GenCorp is a bad idea. Nick tries to get her to reconsider, but she walks away.After some time, Nick turns over the information he has regarding his time-travel experiments, but on trying to access the files that are being kept in GenCorp's computers, finds that he does not have access to this.Going to the local supermarket, Nick comes across Lisa. Lisa apologizes for the way she reacted the last time they talked, but Nick claims he has a surprise for her. Taking her to the airport, Nick gets access to his plane, and takes Lisa back to the 50's on a date.During their time jaunt, Nick then goes forward to 2041. However, the two find that the future now is in anarchy. When Nick mentions time-travel, one group takes him and Lisa in an attempt to get their 'Transport.' Nick and Lisa manage to escape back to the present. Nick then goes to GenCorp and explains to Robertson what he and Lisa saw. However, it soon becomes apparent that Robertson has had some hand in the changes to the future. He explains that he has already used Nick's technology to build his own time vehicle out of an airplane. Nick soon realizes that in signing over his discovery to GenCorp, they now have total control.Robertson attempts to have Nick and Lisa turned over as 'Spies' to prevent them from telling of GenCorp's plans. However, the two manage to escape. Heading back to the airport, they manage to trick their way into getting Nick's plane out of the hands of GenCorp security.Once airborne, Nick decides to leap back to the day when he gave the demonstration to Matthew and Lisa. Lisa does explain that while it will prevent GenCorp from knowing about Nick's discovery, it also will mean that she and Nick will not meet.Nick still leaps back in time, but finds that Robertson and Matthew Paul are right behind them. Robertson fires on Nick's plane, wounding Lisa severely, and damaging the plane. Nick then bails from the plane as it crashes in a fireball. Nick manages to make it ashore, and heads towards the airport, hoping to stop his past-self from giving the time-travel demonstration.Meanwhile, past-Lisa is diverted from meeting past-Nick about the 'skydiving Grandmother,' and told to investigate a plane crash. When she arrives on the scene, the forensics team mentions that a body in the wreck is so badly damaged, dental records will need to be investigated. Checking the number on the tail of the plane, Lisa finds it registered to Nick.Past-Nick meanwhile, has given his time-travel demonstration to Matthew Paul, who is planning to bring Robertson to view the machine. After he leaves, Lisa arrives at the airport where she meets Nick and discusses what she found out. However, she's surprised to find that Nick claims to only own one plane, and it is sitting intact on the tarmac!After they go back and check the wreckage, Nick claims they need to check on something, and he and Lisa take off in his plane (supposedly to time-jump somewhere, but this is not fully explained).Meanwhile, the Nick that was on the plane that crashed has made it to the airport, only to find the plane gone, and runs into Robertson and Matthew. They also find Nick's mechanic Marty, and take both of them prisoner. Hoping to keep them from telling of what he has done (and is going to do), Robertson decides to time-jump them back to 1776, and kill them there, leaving the two as 'unaccounted war-dead' in the past revolutionary time period.Back in the past, Nick and Lisa have returned, unsure just what to do now. Nick finds that Marty is missing, and Lisa calls the newspaper to check on the dental records...only to find that the body that was in the crash was her!Back in 1776, Robertson tries to get Matthew to help him execute Nick and Marty, but when Matthew refuses, Robertson kills him. Just when it looks like Nick and Marty will be killed as well, past-Nick and past-Lisa appear, along with some revolutionaries. Robertson manages to scare them off, but as a nearby revolutionary battle happens, Robertson runs off on his own, leaving Nick to talk to his past self. Both of them come to an agreement to destroy the time-transport, with the present-Nick taking a horse and going after Robertson in his transport.Nick and Robertson scuffle in the plane which causes it to crash. Nick attempts to emerge from the plane, but is accousted by Robertson. Robertson ends up killing Nick, but is killed himself when a section of the plane that is stuck in a tree falls on him.Back in the altered past timeline, Matthew brings Robertson in from the city, but is surprised when Nick claims that Matthew wanted to introduce him to the star of the new GenCorp commercial, "Ms Gilda Hines, 80 years old and a world-class skydiver." Matthew tries to convince Robertson that Nick does have a time-transport, but finds that Nick's plane has none of the electronic equipment. Robertson then fires Matthew on the spot and leaves. As the CEO drives away, Nick comes up behind Matthew and says, "At least he didn't shoot you this time," leaving the pink-suited fellow perplexed.In the closing moments of the film, we see Nick erase his data regarding the time-transport, and go to a local supermarket. While there, he encounters Lisa, and begins a conversation with her.

Time Chasers

cd6a3100-e45a-9119-903b-84ce9f5fb540

Who plays Lisa Hansen?

/m/015wmg

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2013) (Learn how and when to remove this template message) Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on a contempt of court charge after punching Judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites). McCullagh was stopped for a minor traffic offence, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland's efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh's appeal due to its late submission and leaves him in prison. After being released, Arthur takes another case, that of a transgender Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system. Arthur pays regular visits to his grandfather Sam (Lee Strasberg) in a nursing home, who is progressively becoming senile. It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti). Arthur has a friendly relationship with Judge Francis Rayford (Jack Warden), who takes him on a hair-raising ride in his personal helicopter, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up. One day, Arthur is unexpectedly requested to defend Fleming, who has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur will likely be disbarred if it were to come to light. Arthur's friend and partner, Jay Porter (Jeffrey Tambor), is also unstable. He feels guilt from gaining acquittals for defendants who were truly guilty of violent crimes, showing up drunk at Arthur's apartment when one commits another murder after his acquittal. After a violent breakdown at the courthouse, throwing plates at people, Jay is taken to a hospital. Before leaving in the ambulance, Arthur asks Warren Fresnell (Larry Bryggman), another partner, to handle Ralph's court hearing in his absence. Arthur gives Warren a corrected version of Ralph's probation report and stresses that it must be shown to the judge so that Ralph will get probation rather than jail time. Unfortunately, Warren fails to appear on time and Ralph is sentenced to jail. Arthur is livid and attacks Warren's car. When Warren argues that Ralph's trial was nothing but "nickels and dimes" and beneath him, Arthur reminds him that "they're people" and then reveals that 30 minutes after he was sentenced, Ralph hanged himself. Meanwhile Jeff, sexually and physically abused by other inmates, finally snaps and takes two hostages. Arthur pleads with him to surrender, promising to get him out, but a police sniper shoots and kills Jeff when he moves in front of a window. A clearly disturbed Arthur takes on Fleming's case. He tries to talk the prosecuting attorney, Frank Bowers (Craig T. Nelson) into throwing the case out but Bowers, who recognizes the prestige that convicting a judge would earn him, refuses to back down. Arthur meets with another client, Carl, who gives him photographs that show Fleming engaged in BDSM acts with a prostitute. Gail warns him not to betray a client, revealing that the ethics committee has been keeping their eye on him ever since the contempt of court incident. He shows the pictures to Fleming, who freely admits he is guilty of the rape. As the trial opens, Fleming makes a casual remark to Arthur about wanting to rape the victim again, which pushes an already disgusted Arthur to a breaking point. In his opening statement, Arthur begins by mocking Bowers' case while speculating on the ultimate objective of the American legal system. He appears to be making a strong case to exonerate Fleming but unexpectedly bursts out and says that the prosecution is not going to get Fleming, because he is going to get him and declares that his client is guilty. Rayford shouts that Arthur is "out of order," to which Arthur retorts, "You're out of order! You're out of order! The whole trial's out of order!" Arthur is dragged out of the courtroom, venting his rage all the way and condemning Fleming for his and the legal system's abuse of the law. As the courtroom spectators (including Gail) cheer for Arthur, Fleming sits down in defeat, and a fed-up Rayford storms out. In the end, Arthur sits on the courthouse's steps, knowing his antics will probably cost him his career in law. A supposedly cured Jay passes by and tips his wig to Arthur in greeting, leaving him sitting on the steps in disbelief.

...And Justice for All

256bc55f-fa4f-5466-1177-8cd67982a663

how is the screenplay?

/m/015wmg

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2013) (Learn how and when to remove this template message) Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on a contempt of court charge after punching Judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites). McCullagh was stopped for a minor traffic offence, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland's efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh's appeal due to its late submission and leaves him in prison. After being released, Arthur takes another case, that of a transgender Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system. Arthur pays regular visits to his grandfather Sam (Lee Strasberg) in a nursing home, who is progressively becoming senile. It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti). Arthur has a friendly relationship with Judge Francis Rayford (Jack Warden), who takes him on a hair-raising ride in his personal helicopter, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up. One day, Arthur is unexpectedly requested to defend Fleming, who has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur will likely be disbarred if it were to come to light. Arthur's friend and partner, Jay Porter (Jeffrey Tambor), is also unstable. He feels guilt from gaining acquittals for defendants who were truly guilty of violent crimes, showing up drunk at Arthur's apartment when one commits another murder after his acquittal. After a violent breakdown at the courthouse, throwing plates at people, Jay is taken to a hospital. Before leaving in the ambulance, Arthur asks Warren Fresnell (Larry Bryggman), another partner, to handle Ralph's court hearing in his absence. Arthur gives Warren a corrected version of Ralph's probation report and stresses that it must be shown to the judge so that Ralph will get probation rather than jail time. Unfortunately, Warren fails to appear on time and Ralph is sentenced to jail. Arthur is livid and attacks Warren's car. When Warren argues that Ralph's trial was nothing but "nickels and dimes" and beneath him, Arthur reminds him that "they're people" and then reveals that 30 minutes after he was sentenced, Ralph hanged himself. Meanwhile Jeff, sexually and physically abused by other inmates, finally snaps and takes two hostages. Arthur pleads with him to surrender, promising to get him out, but a police sniper shoots and kills Jeff when he moves in front of a window. A clearly disturbed Arthur takes on Fleming's case. He tries to talk the prosecuting attorney, Frank Bowers (Craig T. Nelson) into throwing the case out but Bowers, who recognizes the prestige that convicting a judge would earn him, refuses to back down. Arthur meets with another client, Carl, who gives him photographs that show Fleming engaged in BDSM acts with a prostitute. Gail warns him not to betray a client, revealing that the ethics committee has been keeping their eye on him ever since the contempt of court incident. He shows the pictures to Fleming, who freely admits he is guilty of the rape. As the trial opens, Fleming makes a casual remark to Arthur about wanting to rape the victim again, which pushes an already disgusted Arthur to a breaking point. In his opening statement, Arthur begins by mocking Bowers' case while speculating on the ultimate objective of the American legal system. He appears to be making a strong case to exonerate Fleming but unexpectedly bursts out and says that the prosecution is not going to get Fleming, because he is going to get him and declares that his client is guilty. Rayford shouts that Arthur is "out of order," to which Arthur retorts, "You're out of order! You're out of order! The whole trial's out of order!" Arthur is dragged out of the courtroom, venting his rage all the way and condemning Fleming for his and the legal system's abuse of the law. As the courtroom spectators (including Gail) cheer for Arthur, Fleming sits down in defeat, and a fed-up Rayford storms out. In the end, Arthur sits on the courthouse's steps, knowing his antics will probably cost him his career in law. A supposedly cured Jay passes by and tips his wig to Arthur in greeting, leaving him sitting on the steps in disbelief.

...And Justice for All

9d9b6564-4a56-9906-8805-459f2dc75fb3

who is arthur kirklands least favourite judge?

/m/015wmg

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2013) (Learn how and when to remove this template message) Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on a contempt of court charge after punching Judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites). McCullagh was stopped for a minor traffic offence, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland's efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh's appeal due to its late submission and leaves him in prison. After being released, Arthur takes another case, that of a transgender Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system. Arthur pays regular visits to his grandfather Sam (Lee Strasberg) in a nursing home, who is progressively becoming senile. It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti). Arthur has a friendly relationship with Judge Francis Rayford (Jack Warden), who takes him on a hair-raising ride in his personal helicopter, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up. One day, Arthur is unexpectedly requested to defend Fleming, who has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur will likely be disbarred if it were to come to light. Arthur's friend and partner, Jay Porter (Jeffrey Tambor), is also unstable. He feels guilt from gaining acquittals for defendants who were truly guilty of violent crimes, showing up drunk at Arthur's apartment when one commits another murder after his acquittal. After a violent breakdown at the courthouse, throwing plates at people, Jay is taken to a hospital. Before leaving in the ambulance, Arthur asks Warren Fresnell (Larry Bryggman), another partner, to handle Ralph's court hearing in his absence. Arthur gives Warren a corrected version of Ralph's probation report and stresses that it must be shown to the judge so that Ralph will get probation rather than jail time. Unfortunately, Warren fails to appear on time and Ralph is sentenced to jail. Arthur is livid and attacks Warren's car. When Warren argues that Ralph's trial was nothing but "nickels and dimes" and beneath him, Arthur reminds him that "they're people" and then reveals that 30 minutes after he was sentenced, Ralph hanged himself. Meanwhile Jeff, sexually and physically abused by other inmates, finally snaps and takes two hostages. Arthur pleads with him to surrender, promising to get him out, but a police sniper shoots and kills Jeff when he moves in front of a window. A clearly disturbed Arthur takes on Fleming's case. He tries to talk the prosecuting attorney, Frank Bowers (Craig T. Nelson) into throwing the case out but Bowers, who recognizes the prestige that convicting a judge would earn him, refuses to back down. Arthur meets with another client, Carl, who gives him photographs that show Fleming engaged in BDSM acts with a prostitute. Gail warns him not to betray a client, revealing that the ethics committee has been keeping their eye on him ever since the contempt of court incident. He shows the pictures to Fleming, who freely admits he is guilty of the rape. As the trial opens, Fleming makes a casual remark to Arthur about wanting to rape the victim again, which pushes an already disgusted Arthur to a breaking point. In his opening statement, Arthur begins by mocking Bowers' case while speculating on the ultimate objective of the American legal system. He appears to be making a strong case to exonerate Fleming but unexpectedly bursts out and says that the prosecution is not going to get Fleming, because he is going to get him and declares that his client is guilty. Rayford shouts that Arthur is "out of order," to which Arthur retorts, "You're out of order! You're out of order! The whole trial's out of order!" Arthur is dragged out of the courtroom, venting his rage all the way and condemning Fleming for his and the legal system's abuse of the law. As the courtroom spectators (including Gail) cheer for Arthur, Fleming sits down in defeat, and a fed-up Rayford storms out. In the end, Arthur sits on the courthouse's steps, knowing his antics will probably cost him his career in law. A supposedly cured Jay passes by and tips his wig to Arthur in greeting, leaving him sitting on the steps in disbelief.

...And Justice for All

b932cb08-687c-336d-f265-e75dc31e065e

when was this movie released?

/m/015wmg

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2013) (Learn how and when to remove this template message) Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on a contempt of court charge after punching Judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites). McCullagh was stopped for a minor traffic offence, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland's efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh's appeal due to its late submission and leaves him in prison. After being released, Arthur takes another case, that of a transgender Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system. Arthur pays regular visits to his grandfather Sam (Lee Strasberg) in a nursing home, who is progressively becoming senile. It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti). Arthur has a friendly relationship with Judge Francis Rayford (Jack Warden), who takes him on a hair-raising ride in his personal helicopter, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up. One day, Arthur is unexpectedly requested to defend Fleming, who has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur will likely be disbarred if it were to come to light. Arthur's friend and partner, Jay Porter (Jeffrey Tambor), is also unstable. He feels guilt from gaining acquittals for defendants who were truly guilty of violent crimes, showing up drunk at Arthur's apartment when one commits another murder after his acquittal. After a violent breakdown at the courthouse, throwing plates at people, Jay is taken to a hospital. Before leaving in the ambulance, Arthur asks Warren Fresnell (Larry Bryggman), another partner, to handle Ralph's court hearing in his absence. Arthur gives Warren a corrected version of Ralph's probation report and stresses that it must be shown to the judge so that Ralph will get probation rather than jail time. Unfortunately, Warren fails to appear on time and Ralph is sentenced to jail. Arthur is livid and attacks Warren's car. When Warren argues that Ralph's trial was nothing but "nickels and dimes" and beneath him, Arthur reminds him that "they're people" and then reveals that 30 minutes after he was sentenced, Ralph hanged himself. Meanwhile Jeff, sexually and physically abused by other inmates, finally snaps and takes two hostages. Arthur pleads with him to surrender, promising to get him out, but a police sniper shoots and kills Jeff when he moves in front of a window. A clearly disturbed Arthur takes on Fleming's case. He tries to talk the prosecuting attorney, Frank Bowers (Craig T. Nelson) into throwing the case out but Bowers, who recognizes the prestige that convicting a judge would earn him, refuses to back down. Arthur meets with another client, Carl, who gives him photographs that show Fleming engaged in BDSM acts with a prostitute. Gail warns him not to betray a client, revealing that the ethics committee has been keeping their eye on him ever since the contempt of court incident. He shows the pictures to Fleming, who freely admits he is guilty of the rape. As the trial opens, Fleming makes a casual remark to Arthur about wanting to rape the victim again, which pushes an already disgusted Arthur to a breaking point. In his opening statement, Arthur begins by mocking Bowers' case while speculating on the ultimate objective of the American legal system. He appears to be making a strong case to exonerate Fleming but unexpectedly bursts out and says that the prosecution is not going to get Fleming, because he is going to get him and declares that his client is guilty. Rayford shouts that Arthur is "out of order," to which Arthur retorts, "You're out of order! You're out of order! The whole trial's out of order!" Arthur is dragged out of the courtroom, venting his rage all the way and condemning Fleming for his and the legal system's abuse of the law. As the courtroom spectators (including Gail) cheer for Arthur, Fleming sits down in defeat, and a fed-up Rayford storms out. In the end, Arthur sits on the courthouse's steps, knowing his antics will probably cost him his career in law. A supposedly cured Jay passes by and tips his wig to Arthur in greeting, leaving him sitting on the steps in disbelief.

...And Justice for All

20d79bd9-6ea5-363f-718a-d4e2413fa9b4

when did this movie come out?

/m/015wmg

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2013) (Learn how and when to remove this template message) Arthur Kirkland (Al Pacino), a defense attorney in Baltimore, is in jail on a contempt of court charge after punching Judge Henry T. Fleming (John Forsythe) while arguing the case of Jeff McCullaugh (Thomas G. Waites). McCullagh was stopped for a minor traffic offence, but then mistaken for a killer of the same name and has already spent a year and a half in jail; Fleming has repeatedly stymied Kirkland's efforts to have the case reviewed. Though there is strong new evidence that Jeff is innocent, Fleming refuses McCullaugh's appeal due to its late submission and leaves him in prison. After being released, Arthur takes another case, that of a transgender Ralph Agee (Robert Christian), arrested for small crime and becoming a victim of the legal system. Arthur pays regular visits to his grandfather Sam (Lee Strasberg) in a nursing home, who is progressively becoming senile. It is revealed that Arthur was abandoned by his parents at a young age, and it was Sam who raised him and put him through law school. Arthur also begins a romance with a legal ethics committee member, Gail Packer (Christine Lahti). Arthur has a friendly relationship with Judge Francis Rayford (Jack Warden), who takes him on a hair-raising ride in his personal helicopter, laughing as he tests how far they can possibly go without running out of fuel, while a terrified Arthur begs him to land. Rayford, a veteran of the Korean War, is borderline suicidal and keeps a rifle in his chambers at the courthouse, a 1911 pistol in his shoulder holster at all times, and eats his lunch on the ledge outside his office window, four stories up. One day, Arthur is unexpectedly requested to defend Fleming, who has been accused of brutally assaulting and raping a young woman. As the two loathe each other, Fleming feels that having the person who publicly hates him argue his innocence will be to his advantage. Fleming blackmails Kirkland with an old violation of lawyer-client confidentiality, for which Arthur will likely be disbarred if it were to come to light. Arthur's friend and partner, Jay Porter (Jeffrey Tambor), is also unstable. He feels guilt from gaining acquittals for defendants who were truly guilty of violent crimes, showing up drunk at Arthur's apartment when one commits another murder after his acquittal. After a violent breakdown at the courthouse, throwing plates at people, Jay is taken to a hospital. Before leaving in the ambulance, Arthur asks Warren Fresnell (Larry Bryggman), another partner, to handle Ralph's court hearing in his absence. Arthur gives Warren a corrected version of Ralph's probation report and stresses that it must be shown to the judge so that Ralph will get probation rather than jail time. Unfortunately, Warren fails to appear on time and Ralph is sentenced to jail. Arthur is livid and attacks Warren's car. When Warren argues that Ralph's trial was nothing but "nickels and dimes" and beneath him, Arthur reminds him that "they're people" and then reveals that 30 minutes after he was sentenced, Ralph hanged himself. Meanwhile Jeff, sexually and physically abused by other inmates, finally snaps and takes two hostages. Arthur pleads with him to surrender, promising to get him out, but a police sniper shoots and kills Jeff when he moves in front of a window. A clearly disturbed Arthur takes on Fleming's case. He tries to talk the prosecuting attorney, Frank Bowers (Craig T. Nelson) into throwing the case out but Bowers, who recognizes the prestige that convicting a judge would earn him, refuses to back down. Arthur meets with another client, Carl, who gives him photographs that show Fleming engaged in BDSM acts with a prostitute. Gail warns him not to betray a client, revealing that the ethics committee has been keeping their eye on him ever since the contempt of court incident. He shows the pictures to Fleming, who freely admits he is guilty of the rape. As the trial opens, Fleming makes a casual remark to Arthur about wanting to rape the victim again, which pushes an already disgusted Arthur to a breaking point. In his opening statement, Arthur begins by mocking Bowers' case while speculating on the ultimate objective of the American legal system. He appears to be making a strong case to exonerate Fleming but unexpectedly bursts out and says that the prosecution is not going to get Fleming, because he is going to get him and declares that his client is guilty. Rayford shouts that Arthur is "out of order," to which Arthur retorts, "You're out of order! You're out of order! The whole trial's out of order!" Arthur is dragged out of the courtroom, venting his rage all the way and condemning Fleming for his and the legal system's abuse of the law. As the courtroom spectators (including Gail) cheer for Arthur, Fleming sits down in defeat, and a fed-up Rayford storms out. In the end, Arthur sits on the courthouse's steps, knowing his antics will probably cost him his career in law. A supposedly cured Jay passes by and tips his wig to Arthur in greeting, leaving him sitting on the steps in disbelief.

...And Justice for All

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what is arthur kirkland's profession?