Philadelphia Film Quotes

@mink: Guess what I got in the mail today? A brand-new copy of The Philadelphia Story. @alex: Nice! Love that movie. We should watch that together sometime if I can find a copy. @mink: Definitely. It’s one of my favorite Cary Grant/Katharine Hepburn films! @alex: Well, in other good news, since I know you LOVE gangster movies so much [insert sarcasm here], I just sent you a ton of Godfather screens with Alex-ified captions, changing things up for you. @mink: I’m looking at them right now. You think you’re pretty funny, don’t you? @alex: Only if you do. @mink: You made orange juice go up my nose. @alex: That’s all I ever wanted, Mink.

Meanwhile, Mme Mao and her cohorts were renewing their efforts to prevent the country from working. In industry, their slogan was: "To stop production is revolution itself." In agriculture, in which they now began to meddle seriously: "We would rather have socialist weeds than capitalist crops." Acquiring foreign technology became "sniffing after foreigners' farts and calling them sweet." In education: "We want illiterate working people, not educated spiritual aristocrats." They called for schoolchildren to rebel against their teachers again; in January 1974, classroom windows, tables, and chairs in schools in Peking were smashed, as in 1966. Mme Mao claimed this was like "the revolutionary action of English workers destroying machines in the eighteenth century." Mme Mao launched a fresh attack on foreign culture. In early 1974 there was a big media campaign denouncing the Italian director Michelangelo Antonioni for a film he had made about China, although no one in China had seen the film, and few had even heard of it or of Antonioni. This xenophobia was extended to Beethoven after a visit by the Philadelphia Orchestra.

Meanwhile, Mme Mao and her cohorts were renewing their efforts to prevent the country from working. In industry, their slogan was: "To stop production is revolution itself." In agriculture, in which they now began to meddle seriously: "We would rather have socialist weeds than capitalist crops." Acquiring foreign technology became "sniffing after foreigners' farts and calling them sweet." In education: "We want illiterate working people, not educated spiritual aristocrats." They called for schoolchildren to rebel against their teachers again; in January 1974, classroom windows, tables, and chairs in schools in Peking were smashed, as in 1966. Mme Mao claimed this was like "the revolutionary action of English workers destroying machines in the eighteenth century." All this demagoguery' had one purpose: to create trouble for Zhou Enlai and Deng Xiao-ping and generate chaos. It was only in persecuting people and in destruction that Mme Mao and the other luminaries of the Cultural Revolution had a chance to "shine." In construction they had no place. Zhou and Deng had been making tentative efforts to open the country up, so Mme Mao launched a fresh attack on foreign culture. In early 1974 there was a big media campaign denouncing the Italian director Michelangelo Antonioni for a film he had made about China, although no one in China had seen the film, and few had even heard of it or of Antonioni. This xenophobia was extended to Beethoven after a visit by the Philadelphia Orchestra. In the two years since the fall of Lin Biao, my mood had changed from hope to despair and fury. The only source of comfort was that there was a fight going on at all, and that the lunacy was not reigning supreme, as it had in the earlier years of the Cultural Revolution. During this period, Mao was not giving his full backing to either side. He hated the efforts of Zhou and Deng to reverse the Cultural Revolution, but he knew that his wife and her acolytes could not make the country work. Mao let Zhou carry on with the administration of the country, but set his wife upon Zhou, particularly in a new campaign to 'criticize Confucius." The slogans ostensibly denounced Lin Biao, but were really aimed at Zhou, who, it was widely held, epitomized the virtues advocated by the ancient sage. Even though Zhou had been unwaveringly loyal, Mao still could not leave him alone. Not even now, when Zhou was fatally ill with advanced cancer of the bladder.

So do not fear, for I am with you; do not be dismayed, for I am your God. I will strengthen you and help you; I will uphold you with my righteous right hand. Isaiah 41: 10 NIV Nadin Khoury was thirteen years old, five foot two, and weighed, soaking wet, probably a hundred pounds. His attackers were larger and outnumbered him seven to one. For thirty minutes they hit, kicked, and beat him. He never stood a chance. They dragged him through the snow, stuffed him into a tree, and suspended him on a seven-foot wrought-iron fence. Khoury survived the attack and would have likely faced a few more except for the folly of one of the bullies. He filmed the pile-on and posted it on YouTube. The troublemakers landed in jail, and the story reached the papers. A staffer at the nationwide morning show The View read the account and invited Khoury to appear on the broadcast. As the video of the assault played, his lower lip quivered. As the video ended, the curtain opened, and three huge men walked out, members of the Philadelphia Eagles football team. Khoury, a rabid fan, turned and smiled. One was All-Pro receiver DeSean Jackson. Jackson took a seat close to the boy and promised him, “Anytime you need us, I got two linemen right here.” Then, in full view of every bully in America, he gave the boy his cell phone number. 16 Who wouldn’t want that type of protection? You’ve got it . . . from the Son of God himself.

the past decade or more. The term originated in the film The Philadelphia

Porter’s next new Hollywood work, MGM’s High Society (1956), was second-division Porter. It hit his characteristic points—the Latin rhythm number in “Mind If I Make Love To You,” the charm song full of syncopation and “wrong” notes in “You’re Sensational.” Porter even turned himself inside out in two numbers for Louis Armstrong, “High Society Calypso” (the Afro-Caribbean anticipation of reggae had just begun to trend in America) and, in duet with Bing Crosby, “Now You Has Jazz.” And the film’s hit, “True Love,” is a waltz so simple neither the vocal nor the chorus has any syncopation whatever. This is smooth Porter, the Tin Pan Alley Porter who wants everyone to like him, even the tourists. Everything about High Society is smooth—to a fault. Armstrong gives it flair, but everyone else is so relaxed he or she might be bantering between acts on a telethon. These are pale replicas of the characters so memorably portrayed in MGM’s first go at this material, The Philadelphia Story, especially by Katharine Hepburn and Cary Grant. In their first moment, the two are in mid-fight; she breaks his golf clubs and he starts to take a swing at her, recalls himself to manly grace, and simply shoves her self-satisfied mug out of shot. This is not tough love. It’s real anger, and while Philip Barry, who wrote the Broadway Philadelphia Story, is remembered only as a boulevardier, he was in fact a deeply religious writer who interspersed romantic comedies with allegories on the human condition, much as Cole Porter moved between popular and elite composition. Underneath Barry’s Society folderol, provocative relationships undergo scrutiny as if in Christian parable; his characters are likable but worrisome—and, from First Couple Bing Crosby and Grace Kelly on down, there is nothing worrisome in this High Society.

son camarade de table a ajouté qu'il avait essayé de regarder le plus possible de films sur le sida. C'est une bonne chose qu'il ne m'ait pas dit qu'il avait regardé Philadelphia, je l'aurais poignardé avec son couteau à beurre.

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