Suggested Theme: Movies about Movies e.g. Singin' in the Rain (1952), The Player (1992)

Wait, is this madness as in anger or madness as in insanity?

Yea, I'm confused about this as well...

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Writers: Stanley Kubrick, Terry Southern, Peter George (screenplay); Peter George (based on the book: "Red Alert" by) https://www.youtube.com/watch?v=J67wKhddWu4 RIPPER: Mandrake? MANDRAKE: Yes, Jack? RIPPER: Have you ever seen a commie drink a glass of water? MANDRAKE: Well, no, I...I can't say I have, Jack. RIPPER: Vodka. That's what they drink, isn't it? And never water. MANDRAKE: Well, I...I believe that's what they drink, Jack, yes. RIPPER: On no account will a commie ever drink water. And not without good reason. MANDRAKE: Ah...yes. I, uh, can't quite see what you're getting at, Jack. RIPPER: Water. That's what I'm getting at. Water. Mandrake, water is the source of all life. Seven tenths of this earth's surface is water. Why, do you realize that seventy percent of you is water? And as human beings, you and I need fresh, pure water to replenish our precious bodily fluids. Are you beginning to understand? MANDRAKE: (Laughing nervously) Yes. RIPPER: Mandrake, Mandrake have you never wondered why I drink only distilled water, or rain water, and only pure grain alcohol? MANDRAKE: Well, it...it did occur to me, Jack, yes. RIPPER: Have you ever heard of a thing called fluoridation? Fluoridation of water? MANDRAKE: Uh, yes I have heard of that, Jack, yes. RIPPER: Well, you now what it is? MANDRAKE: No, no, I don't know what it is... RIPPER: Do you realize that fluoridation is the most monstrously conceived and dangerous Communist plot we have ever had to face? DIALOGUE ON DIALOGUE: After launching an all-out attack against the Soviet Union without authorization from the President of the US, Brigadier General Jack D. Ripper finally confides in his attache Group Captain Mandrake why he felt he had to begin World War III. Throughout the film we've known that a madman launched the initial attack, but it isn't until this scene that we come to know that Gen. Ripper was a believer in the fluoridation conspiracy theory. His constant references to "precious bodily fluids" became a cultural catchphrase.

Apocalypse Now (1979) Writers: John Milius, Francis Ford Coppola (written by); Michael Herr (narration); Joseph Conrad (novel "Heart of Darkness") (uncredited) https://www.youtube.com/watch?v=Jts9suWIDlU KILGORE: Smell that? You smell that? LANCE: What? KILGORE: Napalm, son. Nothing else in the world smells like that. (Kneels) I love the smell of napalm in the morning. You know, one time we had a hill bombed, for 12 hours. When it was all over, I walked up. We didn't find one of 'em, not one stinkin' dink body. The smell, you know that gasoline smell, the whole hill. Smelled like (sniffing, pondering) victory. Someday this war's gonna end... (suddenly walks off) DIALOGUE ON DIALOGUE: Often what looks to one person like bravery appears to another as madness. No one ever accused Lieutenant Colonel Bill Kilgore of being mad, but juxtaposed against the rest of the film, there's a lot to doubt about his sanity. This is an instance where madness is subtext.

Kung Fu Panda 2 (2011) Writers: Writers: Jonathan Aibel, Glenn Berger https://www.youtube.com/watch?v=QuLUZIvf-l8 SHEN: (Wistfully) My father's throne. He used to let me play here beside him, promising someday this throne would be mine. The throne falls from a high castle window. SHEN: A little to the left. GORILLA: Uh, but it's so heavy, Master. SHEN: Thirty years I've waited for this moment. Everything must be exactly how I envisioned it. And I envisioned it, a little to the left. Perfect. With the weapon by my s--- a little bit more. With the weapon by my side, all China will bow before me. We move out in three days when the moon is full and the tide is high. (Laughs) And now, you old goat, why don't you tell me my--- SOOTHSAYER: Fortune? SHEN: F-Future. I was going to say 'future.' Look into your ball and tell me what glory awaits. SOOTHSAYER: If you continue on your current path, you will find yourself...at the bottom of the stairs. I see...I see...I see...pain. SHEN: Ow! SOOTHSAYER: And anger. SHEN: How dare you! That is the finest silk in the province! SOOTHSAYER: Followed by denial. SHEN: And this is not fortunetelling. You're just saying what's happening right--- SOOTHSAYER: Now? Shen sighs in disgust. SOOTHSAYER: The most important time is now. But if you really want to see the future... SHEN: Oh, what do you see? SOOTHSAYER: A peacock...is defeated by a warrior of black and white. Nothing has changed. SHEN: That's impossible, and you know it. SOOTHSAYER: It is not impossible, and he knows it. SHEN: Who? WOLF BOSS: Lord Shen! I saw a panda! SHEN: A panda? WOLF BOSS: Uh, a kung fu warrior. He fought like a demon. Big and furry. Soft and squishy. Uh, kinda plush and cuddly. SHEN: There are no more pandas. SOOTHSAYER: Even with his poor eyesight he can see the truth. Why is it that you cannot? SHEN: Find this panda and bring him to me. WOLF BOSS: Yes, sir. SHEN: One panda. That does not make you right. SOOTHSAYER: You're right. Being right makes me right. SHEN: Then I will kill him, and make you wrong. The Soothsayer takes another bite of Shen's robe. SHEN: Will you stop that! DIALOGUE ON DIALOGUE: The antagonist as world-conquering demagogue is a standard trope, and Shen is no different in that respect. What we get here is a conversation that reveals the depth of Shen's willful blindness to his ultimate fate. The Soothsayer functions was the warning to Shen that he cannot win, yet Shen is so driven by his desire, his madness (both his insanity and his anger at the perceived slight by his parents), that he cannot release himself from his own self-destruction even when it's spelled out plainly to him. The writers also have some fun playing with the idea of a soothsayer by having her finish Shen's lines, and with the "bottom of the stairs" gag line.

Addams Family Values (1993) Writers: Charles Addams (characters), Paul Rudnick https://www.youtube.com/watch?v=g9OhykhqC2Q DEBBIE: I don't want to hurt anybody. I don't enjoy hurting anybody. I don't like guns, or bombs, or electric chairs. But sometimes people just won't listen. So I have to use persuasion. And slides. My parents: Sharon and Dave. Generous. Doting...or where they? All I ever wanted was a Ballerina Barbie in her pretty pink tutu. My birthday. I was ten. And do you know what they got me? MAL-I-BU BAR-BIE! MORTICIA: Malibu Barbie. GOMEZ: The nightmare. MORTICIA: The nerve. DEBBIE: That's not what I wanted. That's not who I was. I was a ballerina. GRACEFUL! DELICATE! They had to go. Baby Pubert takes down a saw and begins cutting his way out of his prison. DEBBIE: My first husband, the heart surgeon. All day long coronaries, transplants. GRANNY: What about your needs? DEBBIE: "Sorry about dinner, Deb, the Pope has a cold." GRANNY: An ax. That takes me back. Pubert, crawling away, knocks loose a bowling ball. DEBBIE: Husband number two: the senator. He loved his state. He loved his country. GRANNY: What about Debbie? DEBBIE: "Sorry, Debbie, no Mercedes this year. We have to set an example." Oh, yeah? SET THIS! More scenes of Pubert and the bowling ball. DEBBIE: My latest husband. My late husband, Fester. FESTER: The fool. DEBBIE: The corpse, and his adorable family. They took me in, accepted me, but did any of you love me? Really love me? GOMEZ: Hands! Pubert slides down the stair rail and rolls across the floor. DEBBIE: So, I...I killed. So, I maimed. So, I detroyed one innocent life after another. Aren't I a human being? Don't I yearn, and ache, and shop? Don't I deserve love? And jewelry? The bowling ball and baby Pubert set up the teeter-totter. MORTICIA: A doomed ship. GOMEZ: Adios, Cara Mia. FESTER: Debbie, let them go. Take me and my money. For what I've done I deserve to die. DEBBIE: Sorry. The bowling ball launches Pubert into orbit, where he appears in the window of a passing jetliner. DEBBIE: Goodbye, everybody! Wish me luck. GROUP: Good luck. Pubert lands just as Debbie throws the swtich. He rewires the cables so the shock returns and electrocutes Debbie, turning her into a mound of dust--and credit cards. DIALOGUE ON DIALOGUE: The Addams Family world turns all assumptions about normality inside out. To the Addamses, it's the normal world that seems off kilter. So, how to make someone seem madder than the Addamses? Debbie Jellinsky had to be bigger than bigger-than-life, which meant writing (and performing) her melodramatically. In this scene we get the confessional trope. Why did she turn to be so bad? Blame it on Barbie (toy maker Mattel likely didn't pay a promotional fee for this film). Adding a slide presentation was a new twist, which adds to the fun. She's obviously prepared. Since this is the climax scene, there's also the interspersed scenes of Pubert and the bowling ball to provide a Rube Goldberg-ish solution to how the baby defeats Debbie. TRIVIA: Based on the New Yorker cartoons drawn by cartoonist Charles Addams beginning in 1938, the original characters did not have names. It was the 1964 television series based on the cartoons that caused the characters to gain names.

Insanity. Crazed. Lost it. That was the thought.

Movie – Misery (1990) Screenplay by William Goldman, Novel by Stephen King Youtube - https://youtu.be/ueHC7pgfYGU [Liberace record playing in background] Annie Wilkes: Paul… Paul Sheldon: [waking up] Hmm? Annie Wilkes: I know you’ve been out. Paul Sheldon: What? Annie Wilkes: You’ve been out of your room. Paul Sheldon: No I haven’t. Annie Wilkes: Paul… My little ceramic penguin in the study always faces due South. Paul Sheldon: I don’t know what you’re talking about. Ceramic penguins… Annie Wilkes: [shows him a knife] Is this what you’re looking for? I know you’ve been out twice Paul. First I couldn’t figure out how you did it, but last night [holds up bobby pin] I found your key. I know I left my scrapbook out, I can imagine what you might be thinking of me. But you see Paul, it’s all OK. Last night it came so clear, I realized you just need more time. Eventually you’ll come to accept the idea of being here. Paul do you know about the early days of the Kimberly Diamond Mines? Do you know what they did to the native workers who stole diamonds? Don’t worry, they didn’t kill them, that would be like junking a Mercedes just because it has a broken spring. No, if they caught them they had to make sure they could go on working but they also had to make sure they could never run away. The operation was called hobbling. Paul Sheldon: Annie, whatever you’re thinking about doing, please don’t do it. Annie for God’s sake… Annie Wilkes: Shhh darling. Trust me… Paul Sheldon: For God’s sake Annie Wilkes: It’s for the best. Paul Sheldon: Annie, please… [She smashes his foot with a sledgehammer, Paul SCREAMS in pain] Annie Wilkes: Almost done, just one more. [She smashes the other foot with the sledgehammer, Paul continues SCREAMING] Annie Wilkes: God I love you. Comment - Annie is madness personified (a well-deserved Oscar for Kathy Bates). You know she is sincere when she tells Paul she loves him even as she is crushing his ankles.