Duplicity Movie Quotes

Jack Kennedy could have been a movie star himself. He had the charisma, the charm, that come-hither quality that can never be duplicated. Is it any wonder he got elected president?

A novel works it's magic by putting a reader inside another person's life. The pace is as slow as life. It's as detailed as life. It requires you, the reader, to fill in an outline of words with vivid pictures drawn subconsciously from your own life, so that the story feels more personal than the sets designed by someone else and handed over via TV or movies. Literature duplicates the experience of living in a way that nothing else can, drawing you so fully into another life that you temporarily forget you have one of your own. That is why you read it, and might even sit up in bed till early dawn, throwing your whole tomorrow out of whack, simply to find out what happens to some people who, you know perfectly well, are made up. It's why you might find yourself crying, even if you aren't the crying kind.

Bad or good, movies nearly always have a strange diminishing effect on works of fantasy (of course there are exceptions; The Wizard of Oz is an example which springs immediately to mind). In discussions, people are willing to cast various parts endlessly. I've always thought Robert Duvall would make a splendid Randall Flagg, but I've heard people suggest such people as Clint Eastwood, Bruce Dern and Christopher Walken. They all sound good, just as Bruce Springsteen would seem to make an interesting Larry Underwood, if ever he chose to try acting (and, based on his videos, I think he would do very well ... although my personal choice would be Marshall Crenshaw). But in the end, I think it's best for Stu, Larry, Glen, Frannie, Ralph, Tom Cullen, Lloyd, and that dark fellow to belong to the reader, who will visualize them through the lens of the imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction - anyone who has ever seen One Flew Over The Cuckoo's Nest and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad ... but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.

But in the end, I think it’s perhaps best for Stu, Larry, Glen, Frannie, Ralph, Tom Cullen, Lloyd, and that dark fellow to belong to the reader, who will visualize them through the lens of imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow.

Play to your strengths. There are many roads to happiness, but almost all of them are found by pursuing your particular strengths, which are likely to change over time. Change is intimidating for almost everyone, as it requires us to move from the known to the unknown, and hence from the predictable to the unpredictable. For this reason, many people remain too long with jobs or hobbies that once suited them but do not anymore. Just because you once loved something doesn’t mean you are destined to always feel that way. Your changing sources of happiness are probably telling you that your old life doesn’t suit you anymore. Seek the original source. Our modern world provides numerous opportunities for happiness that resemble but do not duplicate the original sources. Some are perfectly fine (e.g., TV and movies), some probably do more harm than good (e.g., alcohol, drugs, and junk food), but none is as good as the ancestral originals. Time with family and friends sits at the top of our species’ checklist and is our best recipe for happiness.

Bad or good, movies nearly always have a strange diminishing effect on works of fantasy... In discussions, people are willing to cast various parts endlessly... But in the end, I think it's perhaps best for [the characters] to belong to the reader, who will visualize them through the lens of imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction―anyone who has ever seen 'One Flew Over the Cuckoo's Nest' and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad . . . but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.

[from 'A Quiet Place' review in 'Corruptions And Duplications Of Form'] This portrait of the American family under attack from alien invaders comes in the form of a horror movie for MAGA-ites. Here, it is the aliens who snatch children, not ICE. Defeating these aliens requires dry-erase conspiracy charts, a trip-wired perimeter, home-schooling. It's a paranoid fantasy for dads who want to move upstate.

*I’ve always had an alternative reading of the Body Snatchers movies (Siegel’s, Kaufman’s, and Ferrara’s). Each movie presents the Pod People in a sinister light. Yet really, almost nothing they do on screen really bears out this sinister interpretation. If you’re one who believes that your soul is what makes you you, then I suppose the Pod People are murdering the Earthlings they duplicate and replace. However, if you’re more of the mind that it is your intellect and your consciousness that make you who you are, then the Pod People transformation is closer to a rebirth than a murder. You’re reborn as straight intellect, with a complete possession of your past and your abilities, but unburdened by messy human emotions. You also possess a complete fidelity to your fellow beings and a total commitment to the survival of your species. Are they inhuman? Of course, they’re vegetables. But the movies try to present their lack of humanity (they don’t have a sense of humor, they’re unmoved when a dog is hit by a car) as evidence of some deep-seated sinisterness. That’s a rather species-centric point of view. As human beings it may be our emotions that make us human, but it’s a stretch to say it’s what makes us great. Along with those positive emotions—love, joy, happiness, amusement—come negative emotions—hate, selfishness, racism, depression, violence, and rage. For instance, with all the havoc that Donald Sutherland causes in the Kaufman version, including the murder of various Pod People, there never is a thought of punishment or vengeance on the Pod People’s part, even though he’s obviously proven himself to be a threat. They just want him to become one of them. Imagine in the fifties, when the Siegel film was made, that instead of some little town in Northern California (Santa Mira) that the aliens took root in, it was a horribly racist, segregated Ku Klux Klan stronghold in the heart of Mississippi. Within weeks the color lines would disappear. Blacks and whites would be working together (in genuine brotherhood) towards a common goal. And humanity would be represented by one of the racist Kluxers whose investigative gaze notices formerly like-minded white folks seemingly enter into a conspiracy with some members of the county’s black community. Now picture his hysterical reaction to it (“Those people are coming after me! They’re not human! You’re next! You’re next!”). *Solving the problems, both large and small, of your actors—lead actors especially—is the job of a film director.

kitchen as she serves Tony pasta and fills his glass with wine. Within the family structure, Tony, who has no father, is a patriarch who has the role of protecting his sister Cesca’s honour, while Mrs Camonte is the matriarch who guards the family’s morality. Yet the structure of Italian familialism is weakened to the point of being unable to provide a viable social model for American society. Tony is a degraded image of a patriarch whose protection of female honour only leads him to murder Cesca’s new husband Guino. Tony’s actions towards his sister are further represented as a form of incest exemplified in the scene where he rips off her clothes after seeing her dance with another man at the Paradise Club. As Peter Bondanella has noted, in the representation of Tony’s desire for Cesca, the film might even actualize a long Anglo-Saxon tradition of associating Italian cultural heritage with Renaissance duplicity and perverse forms of sexuality evocative of the Borgia family.9 But the film also neutralizes the other dimension of Old World familialism represented by Mother Camonte, whose role as the custodian of the family’s morality fails since she has a son who is a gangster and a daughter whom she cannot protect from her ‘no-good’ boy. Because of the repeated construction of the gangster as an Italian ethnic subject bearing the markers of an ethnicity to be feared for

Witnesses to his whoppers realized that Reagan was not lying but had persuaded himself of the validity of his tales. “He finds it next to impossible to say anything that is not in some crucial way untrue,” wrote the journalist Jack Beatty. “It’s not a credibility gap, for there is no evidence of cynical or even conscious duplicity. The President is so far out of touch that it amounts to a reality gap.” Still, listeners were often dumbfounded. His daughter Patti said, “He has the ability to make statements that are so far outside the parameters of logic that they leave you speechless.” John Sloan, author of The Reagan Effect, has written: “In Reagan’s mind, unpleasant facts could be avoided; contradictions could be denied; anecdotes could overcome facts; movie illusions could substitute for history; unpleasant realities could be blamed on a hostile press.” His fictions mattered little, though, for after a generation of assassination and scoundrelry the media decided—consciously or unconsciously—to feature his presidency as a success story and to brush aside inconvenient particulars. “Ronald Reagan,” observed the political scientist James David Barber, “is the first modern President whose contempt for the facts is treated as a charming idiosyncrasy.” In London, a writer in the Observer commented: “His errors glide past unchallenged. At one point … he alleged that almost half the population gets a free meal from the government each day. No one told him he was crazy. The general message of the American press is that, yes, while it is perfectly true that the emperor has no clothes, nudity is actually very acceptable this year.

Our Christian subculture is marked by church hopping. We stay put as long as it suits us, until we are offended or decide we’re not being “fed.” So, wanting to quietly validate our own identities, we tend to silo ourselves into churches where everyone looks like us, talks like us, likes the same movies, and won’t embarrass us in public. But what if we took a cue from popular culture’s push for diversity and realized that surrounding ourselves with our duplicates only makes us more self-centered?

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