Rebellion Movie Quotes

Maybe, generations ago, young people rebelled out of some clear motive, but now, we know we’re rebelling. Between teen movies and sex-ed textbooks we’re so ready for our rebellious phase we can’t help but feel it’s safe, contained. It will turn out all right, despite the risk, snug in the shell of rebellion narrative. Rebellion narrative, does that make sense? It was appropriate to do, so we did it.

It is true, yes, that joy in a violent world can be rebellion. Sex can be rebellion. Turning off the news and watching two hours of a mindless action film can be rebellion. But without being coupled with any actual HARD rebellion, without reaching our hands into revolutionary action, all you’ve done is had a pretty fun day of joy, sex, and a movie.

I didn't play practical jokes at home. I had a strict upbringing, which is part of my rebellion. I was raised Catholic and went to parochial school, which is why priests and nuns appear in my movies a lot, and I don't have very much nice to say about them.

But he had always believed in fighting for the underdog, against the top dog. He had learned it, not from The Home, or The School, or The Church, but from that fourth and other great moulder of social conscience, The Movies. From all those movies that had begun to come out when Roosevelt went in. He had been a kid back then, a kid who had not been on the bum yet, but he was raised up on all those movies that they made then, the ones that were between '32 and '37 and had not yet degenerated into commercial imitations of themselves like the Dead End Kid perpetual series that we have now. He had grown up with them, those movies like the every first Dead End, like Winternet, like Grapes Of Wrath, like Dust Be My Destiny, and those other movies starring John Garfield and the Lane girls, and the on-the-bum and prison pictures starring James Cagney and George Raft and Henry Fonda.

Isn’t that exactly what has happened? Entire industries—movie, music, fashion, fast food—and countless online services revolve around the consumer habits of, you guessed it, teens. With all this money and attention focused on teens, the teen years are viewed as some sort of vacation.

What is more passionate than hope and deeper than despair? It's Love

The numbers really grew when we were at war, when all the fellas who used to be inside their homes watching TV saw that the action movies they were watching inside were actually happening outside, and so they came out of their homes to join the fun, because even though we were firing real guns, it was all a game for most of us. Scrooge, former leader of the Rebellion Raiders street gang that once boasted of having some ten thousand members

In 2003, Meryl Streep won a career achievement César Award, the French equivalent of an Oscar. Streep’s words (my translation) acknowledged the enduring interest of French audiences in women’s lives and women’s stories: "I have always wanted to present stories of women who are rather difficult. Difficult to love, difficult to understand, difficult to look at sometimes. I am very cognizant that the French public is receptive to these complex and contradictory women. As an actress I have understood for a long time that lies are simple, seductive and often easy to pass off. But the truth—the truth is always very very very complicated, often unpleasant, nuanced or difficult to accept." In France, an actress can work steadily from her teens through old age—she can start out in stories of youthful rebellion and end up, fifty years later, a screen matriarch. And in the process, her career will end up telling the story of a life—her own life, in a sense, with the films serving, as Valeria Bruni Tedeschi puts it, as a “journal intime,” or diary, of one woman’s emotions and growth. No wonder so many French actresses are beautiful. They’re radiant with living in a cinematic culture that values them, and values them as women. And they are radiant with living in a culture—albeit one with flaws of its own—in which women are half of who decides what gets valued in the first place. Their films transcend national and language barriers and are the best vehicles for conveying the depth and range of women’s experience in our era. The gift they give us, so absent in our own movies, is a vision of life that values emotional truth, personal freedom and dignity above all and that favors complexity over simplicity, the human over the machine, maturity over callowness, true mysteries over false explanations and an awareness of mortality over a life lived in denial. In the luminous humanity of their faces and in the illuminated humanity of their characters, we discover in these actresses something much more inspiring than the blank perfection and perfect blankness of the Hollywood starlet. We discover the beauty of the real.

November 22   |   Matthew 21:33–44 In a parable, Jesus tells the story of a landowner who plants a vineyard, leases it to tenants, and then goes to another country. After a time, he sends servants to the vineyard to collect the fruit. Rather than give the master his profit, the tenants beat one servant, stone another, and kill a third. In response, the landowner sends more servants, only to see the same thing happen to them. Finally, thinking surely they will respect his son, the landowner sends his heir to the vineyard. Believing they will be able to keep the vineyard for themselves, the tenants kill the son. At that point, Jesus asks the Pharisees what the landowner will do in this situation. The Pharisees say what we would all say; they suggest doing what we would all want to do: “He will put those wretches to a miserable death” (v. 41 ESV). In other words, he’s going to turn that place into an Arnold Schwarzenegger movie: no survivors. You see, the Pharisees, like us, are tuned in to the law. They’re thinking in terms of an eye for an eye and a tooth for a tooth. They can’t see Jesus’s underlying point: they’re the tenants. Jesus quotes them Psalm 118, saying that the stone the builders rejected has become the chief cornerstone. The son sent to the vineyard was rejected by the tenants … but that’s not the end of our story. Jesus says that anyone who comes into contact with this stone will be broken. All of our efforts, whether aimed at rebellion or at righteousness, will cease. The chief cornerstone will break us. There’s one important difference between the heir in the parable and Jesus. Jesus didn’t stay dead! And because Jesus was raised to new life and has given that new life to us, we can leave all our striving behind.

I was waiting for this moment

Rebellion is not for the impulsive or fool - hardy. It is for the truth seekers, the restless, the real third - eye seers who believe the howls of the soul create miracles. Rebels manifest change. Now tell me, are you a rebel?

They were almost that movie. The one that had been done thousands of times. The one everybody's seen and nobody likes, except for five-year-olds and a handful of college-aged single ladies who cry during Hallmark movies.

T'he dca& id, a bunch of ruunbeha,that mean nothing and everything. That pesky, dangerous box is a booby trap full of good and bad news math. I hate math, I hate the scale. Back in the bun-head ballerina days I would measure myself constantly and then punish or praise accordingly. On punishment days I'd yack. Tis true, tis pathetic, tis my history; a golden nugget that makes me wise and human. However, that box is just that, a small container to cage ourselves. Prison is not sexy. No matter how it looks in the movies, prison is not a place to voluntarily visit.

Adolescent sexuality ultimately exists within an adult world of laws, rules, and cultural meanings and yet is also full of its own rebellions, contradictions, and resistances.

Sometimes I wondered whether all this open-mindedness hadn't robbed their daughters of the rebellion they so badly seemed to want. Maybe if they had put up monstrous opposition to, say, their daughters' joining the Gay-Straight Alliance in middle school, maybe if they hadn't been there with camera and hugs when their daughters wore a tux to prom - maybe if they'd faked horror or moral opprobrium they didn't feel and unleashed a tirade or lecture or fit of exasperation worthy of a John Hughes movie, maybe their daughters would have declared victory and deemed their War of Independence a success.

It is true, yes, that joy in a violent world can be rebellion. Sex can be rebellion. Turning off the news and watching two hours of a mindless action film can be rebellion. But without being coupled with any actual HARD rebellion, without reaching our hands into revolutionary action, all you’ve done is had a pretty fun day of joy, sex, and a movie. There is no moment in America when I do not feel like I am fighting. When I do not feel like I’m pushing back against a machine that asks me to prove that I belong here. It is almost a second language, and one that I take pride in, though I wish I did not need to be so fluent in it. I know what it is to feel that urge to build a small heaven, or many small heavens. Ones that you cannot take with you, but ones that cannot be taken from you. A place where you still have a name. I believe, at one point, that Marvin Gaye looked at a country on fire, and wanted that for us all.

and becoming a general at age sixteen. Joseph Smith received an answer to his prayer at age fourteen. What happened? How did young people change from being responsible to reckless? The current stereotypical assumption of teenagers was invented in the United States after World War II. In the early 1900s, large cities sprouted up in which youth experienced crime, child labor, and emotional stress. To protect children from these ills, reformers pushed for mandatory schooling, which pooled young people together for the first time. In the early 1940s, the word “teen-ager” was coined, and after the war an explosion of births produced the largest number of youths in history in the baby boomer generation. Economic stability after the war gave American families more disposable income, and to attract more of that money, advertisers began to market things directly to teenagers—cars, music, clothing, magazines, and movies.11 The idea of a “rebellious teenager” was thus invented in the 1950s and 1960s and sold (literally) to the baby boomer generation of youngsters, who grew up and passed this invented “tradition” down to their children, grandchildren, and now great-grandchildren in the twenty-first century. If we assume young men and women will act rebelliously, then when they do, they are simply meeting our expectations! In rebellion against my cultural surroundings and in support of the divine nature and potential of my children, I frequently tell them that “I don’t believe in teenagers!