2015-01-21 damned with faint / p®aise

 

2015-01-21        damned with faint / p®aise

             

              Oh the horror and / the hypocrisy.   Only minutes after decrying, publicly-enough to be heard, the shenanigans carrying on in his cubi©ombs as ‘childish’, your humble / humbled / humiliated narrator only added to the same by exiting stage right of / the office for what remained of / the after, ‘2 o’clock in the morning courage’ the French poet described what was needed better to survive the dark nights / of the soul, when in fact it’s mostly the 2’oclock in the after version of courage that’s most / needed up on out on up on out on out on up in the ©ubi©ombs, ‘some folks call it hell’, Billy Bob Thornton’s Slingblade says it better in the movie of the same name, ‘I call it / Hades’, the horror and / the hypocrisy is all . we gots.

              Others call it SAD aka Seasonal Affection / Disorder, a legitimate mind-fuck that’s been after running rampant that time of year when everone’s / pissy.  ‘Wolfie’, Mozart’s better half calls him better when he’s been after falling / to the floor  during rehearsals in this movie, surely Wolfgang Amadeus Mozart’s descendants a little tired of your man being called ‘wolfie’ in this movie and the other, Amadeus, though  the way he’s after carrying on in this movie as well as the other, perhaps he / earned it, the way we’re after carrying on in this movie as well as the other, earning it is all / we gots.

               What it is in IO, Don Giovanni is that your man Mozart, despite his constant carrying on, is the toast of Vienna, which makes his former BFF and frenemy Salieri all kind / of livid.  IO, Don Giovanni is the name of the film - the fifth and last film to be reviewed this week and of this WTFednesday evening - ‘Amadeus-lite’ a fellow horroreviewer damned it better with faint praise, Wolfie gets away with ®ed®um as frenemy Lorenzo wanders the streets / of Vienna, livid, that five-lettered wo®dle.  Long-hai®ed music as the soundtrack is good as we do, though, the staging and composing of Mozart’s opera of the same name of course plays an integral part in the plot that four-lettered word of both films, damned with faint p®aise is all / we gots.

              Meta, innit, the staging and composing of this Take This Thing Back to Baltime-moi®es and damned with faint / p®aise of course plays a cintegral part of its / cinstruction, ‘I’ve been after uploading entries from almost exactly a year ago’ ©in said it better this after when aksed, of the recent flurry of editions of the same sent up to be videed on the web-pages of goggle inc. as of late, ‘it’s amazing what changes in a year.  And,’  - and here’s / the kicker - ‘what / doesn’t.’

               (Y)our man ©in will try not to be pissy as SAD / Seasonal Affectation Disorder demands as he hulk-smashes away at this edition of this Take This Thing Back to Baltime-moi®es and damned with faint / p®aise.  ‘The serpents gnaw’ the title character of Don Giovanni / the opera sings it better now in the film of the same name, ‘my vitals.’  Line seems to have been written by your man Salieri, but Wolfie takes credit / for it, publicly if not privately, and Salieri is after stewing about it all, again, being after stewing about it all, again is all / we gots.

              Course no one out-stews Salieri as played by F. Murray Abraham in Amadeus / the movie, ‘F.’ -  Homer J. Simpson enunciates it better, twice, on his own TV show as he’s after protesting missing that night’s guest on ‘Inside the Actor’s Studio’  - ‘Murray   / Abraham’.  Course Abraham plays the over-looked sensei Salieri to  the uncouth kohei Mozart played by Tom Hulce in Milo Forman’s film Amadeus, and plays / it well, Oscar-style if ©in’s not / mistaken, or at least the film itself got all kind of Academy bling, getting all kind of Academy bling is all / we gots.  ‘One can be impassioned and impetuous’ one of these be-wigged court types says it better in this movie to Wolfie – or is it Salieri, these be-wigged court types tend to blend into / each other  - ‘but not / stupid’, it’s the take-away from this film, and as good a slogan / as any, ‘you need to be reckless and fearless’ (y)our man ©in said it better before during and after an outburst at a twelve-stepper meeting, coming as close to a mea-culpa within and without the pages of this Take This Thing Back To Baltimemoi®e s and damend with faint / p®aise as he’s likely / to get – and stealing shamelessly of course from F. Scott’s Fitzgerald’s G®eat Ame®i©an Novel The G®eat Gatsby ‘but as of late I’ve been / careless, as well’, impassioned and impetuous but not / stupid is all / we gots.

              Delegates of the Spanish Inquisition make a cameo up on out on up on out on this movie, to propel / the plot.  Course F. Murray Abraham played the head delegate of the Spanish Inquisition Bernardo Gui, in Jean-Jacques Annaud’s immo(®)tal film take on Umbe®to E©o’s (first !) novel The Name of the Rose as well, ‘the devil I renounce’ one of the monks accused of heresy accuses his accuser better in that movie - and t®uth / be told (y)our man ©in sometimes How Does it Feels the same way about ®egime ze®o and all / that- ‘is you, Bernardo Gui’, for which outburst and refusal / to capitulate your man the monk is of course burnt / at the stake as we do, which was to be his fate anyway, t®uth / be told is all / we gots.

              ‘One must infuse a little sweetness’ Salieri lectures Mozart better in this movie of the dangers of becoming why-so-serious within the plot-lines of his latest opera, ‘into the daily travails / of the people.’  To which advice Mozart in reaction jumps up and on the spot plays some notes on the piano from his upcoming opera as we do and that would soon make him even more / ©infamous, jumping up and on the spot playing some notes on the piano from his upcoming opera that would soon make him even more / famous is all / we gots.  There are some love interests in the film – the battling sopranos and mistresses and all / that spend a ©inordinate amount deal of time in the film bad-mouthing and battling each other for the juiciest opera roles – but Mozart is only interested in these side-shows in terms of how they will effect / his opera, interest in these side-shows only in terms of how they will effect / his opera is all / we gots, ‘now I sit on my porch’ Shane McGowan sings it plaintively better in The Pogues’ rendition of Waltzing Matilda ‘and watch the parades / passing by’, sitting now on the porch and watching the parades / passing by is all / we gots.

 

              ‘Never knew’ McGowan sings it better to end a verse in the same version of that same song, meditating as the character of an Australian war veteran on pain / and shame,  ‘there were worse things / than dying’, and (t)his shout-out apropos of nothing, like much in this edition of this Take This Thing Back to Baltime-moi®es  and damned with faint / p®aise, but it’s a good line and true, and bears / repeating, a good line and true and that bears repeating is all / we gots. 

              Don Giovanni from the looks of it is an opera about some swell from Vienna who fights his way through polite society with only his voice and his sword, dueling when required, and sleeping with anything with a pulse, fighting our way through polite society with only our voice and his sword, dueling when required, and sleeping with anything with a pulse is all / we gots.

              That, and keys on Tosh the laptop other than the two that copy and paste the first sentence of any / every paragraph into / the second, that’s just lazy hulk-smashing, and makes him angry, and ‘you wouldn’t like me’ the ©inc®edible Hulk (hooker please, -id.) aka Dr. Bruce Banner ©infamously says it better of the same, ‘when / I’m angry.’

 

              Thank you for reading (t)his Take This Thing Back to Baltime-moi®es and damend with faint / p®aise.