Aarthi Ramanathan at 2014-02-02 09:41:25:

Father of the bride II (1991) Written by: Albert Hackett, Frances Goodrich, Nancy Meyers and Charles Shyer http://www.youtube.com/watch?v=fVYquqLH3Xo Scott, I couldn't find good quality clips but it's the dialogue when George and his wife find out they are pregnant. I transcribed it below: Nina and George laugh. George: Excuse me? Doc: Nina's pregnant... Nina smiles at George. George: And who may I ask is the father? Nina's jaw drops. Nina: George? George: Don't 'George' me, you two-timing Mata Hari. I haven't done it in six weeks, I haven't just felt myself lately - pregnant! How could this happen, Nina Dickerson? Nina: Don't call me by my maiden name, you big jerk! Takeaway: George Banks, always the anxious, excitable sort had quite enough when his daughter wanted to get married in the original, thus the fact that the filmmakers chose to make his daughter - and then his middle-aged wife pregnant in the sequel is conflict and drama at its comic finest! It's like a triple dose of insulin for poor George and us just anticipating how on earth he's going to survive this throughout.

Alejandro at 2014-02-02 14:24:25:

I was thinking about the Annunciation. I searched for videos and couldn't find many. I started thinking... maybe it's quite difficult to write a believable scene of it. How do you portray the angel? How do you make it convincing? How do you avoid making a scene that is unintentionally disrespectful? Anyway, I found this scene of a movie I haven't watched, but the scene does a very good job, a wonderful scene that makes me want to watch the movie. It's an extremely interesting premise (from Wikipedia:) "The director dramatised the story of the life of Jesus in the situation of contemporary Africa and asks what would happen today, if someone in Africa came forward with the same message as Jesus" It got me really thinking about how difficult is to portray on screen certain events. I don't remember any controversy about this film unlike Jean-Luc Godard's Hail Mary (Je Vous Salue, Marie!) Son of Man: Annunciation (2008) Writers: Mark Dornford-May, Andiswa Kedama, http://www.youtube.com/watch?v=J7jwbWF9uOY


Angel: 

Hark thou that art highly favoured, 
the Lord is with thee: blessed art thou. 
Fear not thou hast found favour with God.
Thou shalt conceive in thy womb and bring forth a son. 
His name shall be Jesus. 
The Holly Ghost shall overshadow thee
and the power of the highest shall bless thee
therefore that holy thing born of thee
shall be called the Son of God.

Trivia: It was the first South African movie to make its debut at Sundance Film Festival.

asmara bhattacharya at 2014-02-04 03:14:14:

Harsh Times (David Ayer, screenplay) (JIM and MARTA, kissing passionately in the back seat of his car.) JIM: C’mon woman. I’m going crazy. MARTA: I can’t. JIM: A little blood never scared me. MARTA: It’s not that. JIM: What, then? (Marta reveals her breast to him. He kisses it with passion, but she pushes him away, laughing.) MARTA: Soon, they will have milk. JIM: Milk? (beat) Didn’t you take your fuckin’ injections? MARTA: Don’t get pissed off. You did your part. I can do the rest myself. JIM: You’re going to the doctor and getting it taken care of. MARTA: No. I love you, and I want to have your child. If you want to run away, go. I don’t need your help. JIM: What if I punch you in the belly...? MARTA: (slaps him) No one speaks to me like that. Not you. Not my father. JIM: Maybe I should just shoot you. MARTA: Go ahead. Go ahead. I’m going to lose my life someday. Why not at the hands of the man I love? JIM: (brandishes gun) Is that true? Think I am playing? (Jim shoves the gun under her chin. With his other hand, he’s both caressing her and nearly choking her.) JIM: You don’t know what I can do. MARTA: Yes, I know what you can do... But, I still love you... Because I see you, not your deeds... If you want to kill me.... Because I love you... Then do it. JIM: You fucked up, woman. I’ll do it. It’s easy. (Jim kisses her again, violently this time. The gun practically in her mouth with his tongue. An attack. A hallucination.) Some distance from the car, MIKE suddenly notices what’s happening. MIKE: Jim! Jim! Jim! (Jim pulls away. Stares at the gun in his hand.) (Marta escapes the car and runs away.) Takeaway: In a violent, layered tale of a war veteran teetering on the edge, this is the turning point for Jim. The intensity with which Jim experiences everything drives him violently towards both the light and the dark; earlier, he professes an equally ferocious desire to marry and possibly “squeeze out puppies with” Marta. The scene also drastically fleshes out Marta, who up until now has been relegated to the trope of the unquestioning, adoring girlfriend. She doesn’t suddenly become the typical Hollywood “strong heroine.” She doesn’t kick his ass, and she doesn’t tell him off in a righteous rage. The scene may very well make fiercely self-reliant women squirm. But it explores a more hidden, complex, realistic, and peculiarly female manifestation of strength. http://www.youtube.com/watch?v=7i7EBnswTTI