Private Writings: Chapter #33 — They Shoot Movies, Don’t They?

private writings to a psychoanalyst (c) Jk 2013

Private Writings — Chapter #33: They Shoot Movies, Don’t They?

Written by Jennifer Kiley
Illustrated by j. kiley
Introduction & Chapter #1
Published on March 19th 2013
Published Early Tuesday AM
Posted 5th November 2013



Crypticistic Synopsis:

private writings to dr. annie haskell, psychoanalyst extraordinaire,
my choice in form of storytelling is using letters with dreams, thoughts, poems, images,
music, art, describing my scripts, recent one ‘brief sacrifice,’ film is waiting for release,
psychotherapy, psychoanalysis, inspirations, reflective comments, the inner & outer workings
of the mind, soul, body, emotions, and bipolar—prefer mentally creative, or interesting,
or a brain misfiring; in the mix are abuse, crashes, near drownings, illegal drugs presently,
hallucinations, hypersexuality, time warps, finding answers to unsolved mysteries, infatuations,
imagination, fantasy, the never ending need to discover my self, my soul, my eternal serenity, my bliss

see you down the rabbit hole.
namaste! madison taylor

Private Writings — Chapter #33: They Shoot Movies, Don’t They?

Tuesday, 29th April 2008

Dear Annie,

You want to know how I met Hunter Marx. It was one of Scottie’s wild industry parties. Anyone who was anyone was invited. And our casting director was asked to invite potential actors of both sexes, who might be right for the roles in my new screenplay. This was back on 2000. I wasn’t wary of this party. In fact, I welcomed it.

It was when I first saw Hunter. She was sitting motionless across the room. I watched her for a while. She was strikingly sensual. Her mystique resonated with me. My feelings told me she was different. I believed in my first impression, which I felt was positive. I trusted it. I was greatly mistaken. Now she haunts me. She gets inside my mind. What once I thought was the beginning, of something special turned into a nightmare. The feelings of closeness we shared disappeared. She was a mirage. What I felt existed was smoke and mirrors, signifying nothing.

I was working on the script tonight and now, the pages are filled with memories of times spent with Hunter. If she could only know what she did to my life, what she made me feel. I cannot believe she wanted me to be so tortured. Coming back into our lives, knowing how she ended it. When I listen to what was our song “Come What May,” from Moulin Rouge. The line that kills me, “I will love you til my dying day.” I still feel her arms holding me. Her eyes looking into mine, mine searching deeper into hers. I missed her so much, simply because I loved her, even after she deserted me.

I was nearly destroyed until I realized exactly what she had done. I was used by her and what I felt meant nothing to her. Her desires were to get close to Scottie and I gave her my blessing to steal everything that was mine. From the beginning, her mind was set on the role. Seducing me, the gullible writer, would convince Scottie to give Hunter Marx the part. Scottie was the wise one, she didn’t want Hunter. Because of me, she did get the lead in our film, anyway. That was her goal, at any cost, She never wanted me, my friendship, my love, but a role I created and the bitch is it made her. Now she gets anything she wants. She fucked with me to get my character that I created. It made her famous and what she is today. A bitch who gets what’s coming to her.

And now she is back. Scottie cast her in my new screenplay, “Touch of the Spirit.” I begged Scottie not to cast Hunter. She just didn’t understand back then or now, why I didn’t want her near either one of us, then or now. Poison, not blood ran in her veins, and a touch of evil lingered around her soul.

Scottie knew I had a crush on Hunter. I was always flirting with the women in our films. Nothing meant to go anywhere. It fed my muse. But with Hunter, the strength of the feelings she brought up inside me, I never expected her to have such a magnetic draw on me. I think I became a touch obsessed, which scared the shit out of me. My attractions didn’t bother Scottie. She knew I was innocent. Scottie always worried I would be hurt but she knew they were an inspiration for my muse. My muse loved the feelings the flirtations created, even if they were innocent with no intent on action. Hunter didn’t understand the rules. She was relentless with her intentions and they were not honest.

A strong physical attraction developed with Hunter. Stronger than anything I had felt in a long time. It was in early 2001, when Scottie finally decided she was going to cast Hunter Marx for their first film together. Hunter’s first major film as the lead. It was still an innocent enough time in the world before the impending insanity that descended and overwhelmed the world.

I did have someone to turn to when I needed to talk outside of therapy. Jonathan Stephens was my long-distance friend. We started chatting years before that time. It was primitive compared to having Skype now, which we both converted to. Chat rooms were weird and I never felt really comfortable using them. But after finding Jonathan, it became okay. With Skype, though, we can hear each other’s voice. Jonathan lives in Paris and has a flat in London. An artist by trade, doing mostly painting, but occasionally, enjoys writing, jumping around in various areas, from poetry to prose, to opinion commentary. It all supplements his income, to that of being an internationally known artist with a strong following. Exhibitions, selling his work on both sides of the Atlantic, Collectors follow him around the world. And then those who buy his art because they love his work and to have the pure pleasure of hanging a painting of Jonathan Stephens on their walls. Those are the people he absolutely adores. Yes, he makes a good living from the collectors, but to them he is not an artist but an investment. If he could, he would refuse them any pieces of his work.

I love what Jonathan paints. His art is predominantly in Abstract, which is my favorite style. My favorite artists after Jonathan are Jackson Pollock, Kandinsky, Vincent van Gogh and a great Monet. Claude, of course. I must say I use to get Monet mixed up with Manet, not because of their art but their names being so similar. I was young and more naive then.

Jonathan knows every detail about Hunter. All the excruciating pain she caused me to feel and the whys. I even told him how she seduced me and made me hide my feelings for her in front of other people. Also, my hidden pleasure, mixed together with confusion, huge amounts of emotional anguish, and her convincing me I was delusional. That I had imagined everything that went on between us. She denied we ever had a relationship. That is why Scottie thought I made the whole thing up about Hunter using me.

Jonathan was the only person who knew the truth. How my soul was filled with joy from the kindness and love Hunter showed me. I felt it was real. It only demonstrated to me the evil content of Hunter’s soul. The treachery and manipulation that surfaced after it was over. Her coldness set in and froze me out. All I could feel was total loss and abandonment. I told every minute detail to Jonathan. My witness to what Hunter did and how it made me feel crazy. The Bipolar mood swings flying me higher and lower. Her presence in my life practically destroyed everything inside of me.

This was the beginning, when the agoraphobia made its strategic hit and thoroughly immobilized my life. Between Scottie, Jonathan and a therapist I saw for a short time. A long story, but the short version, she couldn’t handle the combination of pot and lesbians and a gay man all at one time. She had some kind of cleansing conversions during the therapy sessions. Plus she had to make house calls. It freaked her out being in a lesbian couple’s house all alone. She may have thought or felt being around us lesbians and Jonathan’s gay image on a computer screen was far too contagious. We paid her a small fortune, so it wasn’t the money. Well, after her, there entered Dr. George. We all know how that turned out. Of course, at first, I thought he had an open mind and was a relatively good Psychotherapist. He got me out of the house again, sort of, I would, at least, go to his office.

Tomorrow is Scottie’s wild cast party, before heading over the France. I am still really nervous about the flying. But, at least, I got some of my anxiety out on paper about Hunter. Our first head to head will be at the party. Oh, give me strength. I don’t ever watch her films. I would close my eyes during her scenes in my screenplay. I, so, did not want to see her. I don’t know what I am going to do if I react badly to seeing her near Scottie. And what if she tries to say anything to me? What then?

I promise I will behave and bring this letter to you next week, our last session before flying to Paris. It is going to be hard to go, more because I’ll miss you. I know we are going to be doing Skype sessions and you will make sure I have all the scheduled appointment times for the whole month I am away. That is a really long time. I will write to you. It will center me. And I finally will be in the same city as Jonathan. You may wonder why we have never met in person before now. I will explain that when I see you next week.

I am exhausted and need to stop, Writing about Hunter has really messed with my brain.

Thank you for listening and being there. I already miss you.

I will keep you in the loop in the new film and I promise to catch you up more on “Brief Sacrifice” in my next letter. Too much is going on right now to think about it. I will leave you a quote from my last letter to hold you.

“Time can be folded and joined with all elements in all places as the one ultimate moment when time is all at once. In this place everything happens on a continual loop following into a continuum of time forever into infinity. In the “Silver Box,” there is contained the ability to draw time into itself and create the perfect infinite moment.”

I will end this letter in the moment of now.


© madison taylor 2008

Finale Moulin Rouge I Will Love You Til Our Dying Day

Annie Haskell --- Madison Tayler's Psychoanalyst's Office

Dr. Annie Haskell’s Office as a Psychoanalyst

Somewhere In Time – John Barry

red_flower_garden poppy field sunrise  pwRed Flower Poppy Field at Sunrise

rain in garden gif

Heart Break
Thrice Haiku
By Madison Taylor
6th May 2008

Heart break broke in two
Repairs are like Frankenstein’s
Stitching strings will pass on death

Electric circuits
Strikes lightning’s power preferred
Surging force toward love’s purpose

Awakens beauty
Life less in silence ending
Kissing’s spark brings breathes return

© madison taylor 2008

the red dragon black fire abstract robert-r  pwThe Red Dragon — Artist Robert R.

“A Dream
The beginning always starts out
With a dream.
It is all a dream
In our own nightmares”
— Madison Taylor

jonathan stephens imaginary framedJonathan Stephens is Madison Taylor’s friend in Paris, France. 1st time meeting. Skype.

Patrick is our Bengal cat in tree. He loves Scotties. They are buddies.   1612x1212 Patrick-our Bengal cat up in his tree-Scottie’s buddy

Havana Brown Kitten  Madison and Scottie's kitten One of the Two   800x600

Havana Brown Kitten Madison & Scottie’s. This cutie is Toker. He has a twin brother Mikey

actresses-with-long-hair-hairstyle frenchHunter Marx [taken 7 years ago in 2001 year Hunter & Madison met]

play is not just play meryl streep

Best Film Ever Made #10: The Ruling Class

the ruling class poster

Best Film Ever Made #10: The Ruling Class
Film Review by Jennifer Kiley
Post Created by Jk the secret keeper
Illustrated by j. kiley
Post Created On Tuesday 29th October 2013
Posted on Friday 1st November 2013

5 stars

dedicated to roger ebert film friday

ruling class  peter as christ & jack inherit from him after he does homo-erotic hanging & dies accidentally

The Ruling Class [1972]
Film Review by Jennifer Kiley

The Ruling Class [1972]. Peter O’Toole gives a tour de force performance, one of his finest, as the mentally unbalanced heir to a British noble family, in this black comedy. There is a surprise that makes all in the film go sideways. It takes place about 2/3rds of the way through the film. Startlingly controversial at the time it was originally shown, this cult classic – among the best of the cult classics – is still worth watching, if for Peter O’Toole’s performance alone.

RULING-CLASS peter as christ

It is a pleasure filled with delight for Peter O’Toole fans. I live with one of those fans. I do enjoy Mr. O’Toole myself, that is why I felt this film, overlooked too often, should be among the best of the top 10 films. Peter O’Toole is one of the finest actors of all time. Most who follow Peter O’Toole would say “Lawrence of Arabia” is top of the list of his films, but I put “The Ruling Class” there for its unusual twists & turns, the bizarre & crazy originality of the screenplay & for the grand performance of O’Toole himself & also, that of the entire cast.

Peter O’Toole’s phenomenal performance, received a Best Actor Oscar nomination, one of the eight such nominations in his career, giving him the dubious distinction of being the most-nominated actor never to win that award.

The Ruling Class — Peter O’Toole as God of Love

the-ruling-class peter resting on the cross as christ while dressed white suit

In The Ruling Class, Peter O’Toole plays Jack Gurney, the 14th Earl of Gurney, a paranoid schizophrenic who takes over the title and estate after his father, the 13th Earl, dies. How he dies is just the beginning of the unusualness of the story. Jack, has been living for years in an insane asylum. This does not prevent him from inheriting the estate. The only problem is he believes himself to be JC [Jesus Christ], Eric, Burt, Coda, the First Immovable Mover – God, specifically the God of Love.

peter o'toole as christ

Criterion Trailer — The Ruling Class

His family is outraged by the slight & the fact that Jack appears as JC. They tolerate him while they plan how to regain control of the estate. One of their plans is to get him married off. He will produce an heir, then they would have him locked up again in the booby-hatch, act as the baby’s guardians/trustees. Of course, we all know these plans never come off the way the planners wish. In this case, when the screw ups happen. Jack’s treatments lead to an unexpected change in his mental delusions.

peter as christ dancing around inside butler in the rear who is always tipsy

The Ruling Class, while a film with a critical social edge, has moments of magical, yet almost realistic qualities. Peter O’Toole plays it so real, his portrayal drifts off into something dreamlike. Fantasy mixes with a reality that becomes spooky, filtering through the comedic side into a darkness, which for me, makes one want to root for the return of the gentler, God-filled schizophrenic.

otoole-ruling-class as christ closeup aura surrounds his head

1972 Ruling Class Halo

The upper-class people around him respond to Jack Gurney and his delusions. When he believes himself to be the God of Love, and wants to draw people in with loving kindness, he is beyond being acceptable. But when the nasty, psychopathic side of his personality is awakened, they have no problem embracing his monstrous transformation & the pure evil at its core..

Excerpts from The Ruling Class

ruling class peter as christ on the grounds w woman in white

The butler, Tucker, played by Arthur Lowe, is the high point of the film’s social commentary. A secret anarchist, whose closet door is thrown wide open with a bit of drink in him and the inheritance of a small fortune. It gives him the opportunity to express his true feelings & stick it to his so-called bosses and the supposed class above his own. It’s a marvelously amusing performance, & one needs to mention also the always delightfully funny & always wonderful Alastair Sim [the best Scrooge ever] as the priest in the family.

ruling class peter as christ getting married in front of alastair sims as bishop

The screenplay has delectable dialogue, a great deal of the delicious texture coming from the way Peter O’Toole delivers it. When someone inquires of the Jack Gurney as JC, why he believes he is God, he unabashedly responds, “Simple. When I pray to Him, I find I am talking to myself.” It is all great fun in the first half of the film. Everything seems so comical & sacrilegiously humorous. O’Toole is a smash in the first half. He carries the comedy of being JC & one cannot help but be carried along with him.

peter o'toole as christ

In the second half, however, he slips over to the dark side, a complete antithesis to the God of Love. If I continue, I will most assuredly give away too much & the surprises ahead will be spoiled. Let me just say that there is a deviant kind of pleasure in Peter O’Toole’s ability to portray the sociopathic darkness in the changed Jack Gurney.


For me the second half, after the transformation when Jack becomes so convincingly dark, the film itself becomes a bit too disturbing. Is there pleasure offered in this portion of the film? Maybe the pleasures of art, in a strange manifestation, but the emotional nature of the change, the feelings that surface in the viewer & the character of Jack at the end is definitely frightening..


One may come away from The Ruling Class with a sense of being washed over with pleasure from the first half and painful upheaval from the second half. It is a bit disturbing,, but I suppose it depends on a matter of sensibility and perspective. There is pleasure in watching Peter O’Toole, but it is very difficult to distance one’s self from the darkness of the second half. So be aware of the dichotomy, Peter O’Toole, I will stress, is excellent in The Ruling Class and gives a magnificent performance as the two completely different parts of the one person.

the-ruling-class2 as jack the ripper

Peter O’Toole [scariest moment in the film] The Ruling Class

the_ruling_class_cover front & back of dvd package writing on back

Psychedelic Science

tell me a story
Psychedelic Science
TEDTalk by Fabian Oefner
Notations by Jennifer Kiley
Created on Wednesday 16th October 2013
Posted Thursday 31st October 2013

Psychedelic science by speaker Fabian Oefner 2013G

Published on Oct 7, 2013
Swiss artist and photographer Fabian Oefner is on a mission to make eye-catching art from everyday science. In this charming talk, he shows off some recent psychedelic images, including photographs of crystals as they interact with soundwaves. And, in a live demo, he shows what really happens when you mix paint with magnetic liquid–or when you set fire to whiskey.

Very impressive experiments mixing science with art and creating amazing visions of beauty & visual imagery otherwise not being able to be created. Be prepared to be impressed at the unique sights Fabian Oefner creates. He is also an entertaining speaker you will enjoy.


rushmore poster
Film Review by Roger Ebert
Commentary by Jennifer Kiley
Post Created by Jk the secret keeper
Vimeo Video Discovered by j. kiley
Post Created on Wednesday 23rd October 2013
Posted On Friday 25th October 2013
dedicated to roger ebert film friday

5 stars

The video just below, is an interpretation of Rushmore, adapted by Matt Zoller in the book THE WES ANDERSON COLLECTION. It is Rushmore in an artistically innovatively presentation. Watching this video gave me the desire to want to rewatch Rushmore.

I am a fan of Jason Schwartzman. He was in the film I Heart Huckabees, [LOVED IT!!!] & he did a show for HBO, Bored To Death [LOVED IT!!!], which I watched faithfully. His role of Jonathan was that of a writer who was also a detective. His best friend, played by Zach Galifianakis [HANGOVER +++][LMAO] was a creator of comic books & Jonathan’s other friend, played by Ted Danson, was wealthy. They were always stoned & out on cases, getting into all sorts of trouble. It was short lived but if you can find it streaming somewhere. I highly recommend you sit down & watch it non-stop, while having the munchies & lots to satisfy the need. Jason Schwartzman is an acquired taste, and I like his flavor.

Watch the Vimeo video for Rushmore, then read Roger Ebert’s film review. Find Rushmore and watch it. That is what I am going to do again right now, after I put this post to bed.

It is available on HBO GO through Roku to watch on your TV, if your cable company allows it. If you have Comcast, it doesn’t, so don’t bother looking. Check if you have another Cable Company. If your CC does not authorize this & you still have a subscription to HBO through your cable company you can watch it on your Laptop or devices like a Tablet or Smartphone. As long as you are hooked into your cable company & you have HBO. Now, I have a HDMI cable I hook from my laptop to my HDTV-PC Ready & that enables me to watch it on the TV. So that is that I am going to do.

Enjoy this video & review first. I feel it will expand your enjoyment of Rushmore tenfold.   by Jennifer Kiley

Adapted from the book THE WES ANDERSON COLLECTION by Matt Zoller

by Roger Ebert
February 5, 1999

Max Fischer, the hero of Rushmore, is an activity jock, one of those kids too bright and restless to color inside the lines. Although he’s a lousy student, that doesn’t stop him from organizing a movement to keep Latin on the curriculum of his exclusive prep school. His grades are so bad, he’s on “sudden death probation,” but in his spare time, he edits the school magazine and runs the fencing club, the beekeeping club, the karate team, the French club and the Max Fischer Players. With his bushy eyebrows and black horn-rims, he looks a little like a young Benjamin Braddock from The Graduate.

Rushmore max & his lady

Max, played by Jason Schwartzman, has a secret. He’s in the exclusive Rushmore Academy on a scholarship; his dad is a barber. Always dressed in a tie and snappy blazer (unless in costume for one of his activities), he speaks with an unnerving maturity and is barely able to conceal his feelings of superiority for the headmaster (Brian Cox) and other adults, who enforce their stuffy rules because they are not, and never were, able to work without a net the way Max can.

rushmore-1998 the woman teacher he loved

Then Max encounters a problem even he cannot outflank. Reading a book in the school library, he finds a quote by Jacques Cousteau written in the margin. The book was recently checked out, he discovers, by Miss Cross (Olivia Williams), a first-grade teacher at Rushmore. She is, he finds, incredibly beautiful, and he falls instantly in love, devising a scheme to attract her attention by running a campaign for a school aquarium. Among the potential donors is a steel tycoon named Blume (Bill Murray). Murray has kids in Rushmore, but hates them. Soon he, too, is in love with Miss Cross.

rushmore olivia williams

Up until this point, even a little further, Rushmore has a kind of effortless grace. Max Fischer emerges as not just a brainy comic character, but as a kid who could do anything, if he weren’t always trying to do everything. It’s ingenious the way he uses his political and organizing abilities to get his way with people, how he enlists a younger student (Mason Gamble) as his gofer, how he reasons patiently with the headmaster and thinks he can talk Miss Cross into being his girlfriend. (“Max, has it ever occurred to you that you’re far too young for me?”)

rushmore movie everybody should see

Blume is played by Murray with the right note to counter Max’s strategies. He is, essentially, a kid himself–immature, vindictive, lovestruck, self-centered, physically awkward, but with years more experience in getting his way. (Still, he winds up hiding from life at the bottom of a swimming pool, just like Benjamin in “The Graduate.”) The movie turns into a strategic duel between Max and Blume…

rushmore max with olivia

Rushmore was directed by Wes Anderson and written by Anderson and his college friend Owen Wilson. It’s their second film, after the slight but engaging Bottle Rocket (1996). The legend of that film is well known, and suggests that Anderson and Wilson may have a little of Max Fischer in their own personalities–the film may have elements of self-portraiture.

rushmore max with brian cox headmaster

They were friends at the University of Texas who made a short film, pitched it to screenwriter L.M. “Kit” Carson, got his encouragement, took it to the Sundance Film Festival and cornered director James L. Brooks (As Good As It Gets), who liked it enough to help them get financing for a feature from Columbia Pictures. I am writing this review at Sundance, where I have met a lot of kids trying to pitch their sort of films and get production deals, and having a good film is not enough: You also need the relentless chutzpah of a Max Fischer.

Rushmore max schwartzman &  bill murray

Bill Murray has a way of turning up in perfect smaller roles; he stars in his own films, but since Tootsie, he has made supporting roles into a sort of parallel career. His Blume admires and hates Max for the same reason: because he is reminded of himself. There are times where Blume looks at Max with a combination of hatred and admiration; he’s frustrated in his desire to win Miss Cross for himself, but from an objective viewpoint can’t resist admiring his strategy.

Rushmore max played by jason schwartzman

Anderson and Wilson are good offbeat filmmakers. They fill the corners of their story with nice touches, like the details of Max’s wildly overambitious stage production of Serpico. But their film seems torn between conflicting possibilities: It’s structured like a comedy, but there are undertones of darker themes, and I almost wish they’d allowed the plot to lead them into those shadows. The Max Fischer they give us is going to grow up into Benjamin Braddock. But there is an unrealized Max who would have become Charles Foster Kane.

Rushmore (1999)
Jason Schwartzman as Max Fischer
Bill Murray as Mr. Blume
Olivia Williams as Miss Cross
Brian Cox as Dr. Guggenheim
Seymour Cassel as Bert Fischer
Mason Gamble as Dirk Calloway

Written by
Wes Anderson
Owen Wilson

Comedy, Drama, Indie
Rated R For Language and Brief Nudity
93 minutes

Rushmore — [1998] HQ

rushmore on cast iron fence crop

Cloudy with a chance of joy

tell me a story
Cloudy with a chance of joy
TEDTalk by Gavin Pretor-Pinney
Post Created by Jk the secret keeper
Created 16th October 2013
Posted Thursday 17th October 2013

Gavin Pretor-Pinney: Cloudy with a chance of joy
Published on Jul 16, 2013
You don’t need to plan an exotic trip to find creative inspiration. Just look up, says Gavin Pretor-Pinney, founder of the Cloud Appreciation Society. As he shares charming photos of nature’s finest aerial architecture, Pretor-Pinney calls for us all to take a step off the digital treadmill, lie back and admire the beauty in the sky above.


Let your mind go. Be a child again. Release your imagination & see what shapes the clouds are forming in your mind. Fall in New England is a great time for seeing visions not there any other time of the year. I have seen in the past while driving in Connecticut on the Merritt Parkway, the vision of an island surrounded by water. Maybe even a place to escape to as a get-a-way. Whatever the reason, clouds, in all there wonderful shapes, are a great way to escape, relax, and set your mind free.   Jk the secret keeper

JOKE Wednesday On Ellen:

Question: What did the fish say when he slammed into the wall?
Response: “Dam!”

LOL!!! :roll: :-D 8-) JkM

The Fifth Estate

The Fifth Element
Post Created by Jk the secret keeper
Post Created on Monday 30th September 2013
Posted On Friday 4th October 2013

dedicated to roger ebert film friday5 starsBenedict Cumberbatch shines as Julian Assange in Bill Condon’s over-ambitious take on WikiLeaks, which opens this year’s Toronto film festival.

Catherine Shoard
The Guardian
Friday 6th September 2013

For an employee of the Guardian, particularly one with jetlag, Bill Condon’s WikiLeaks thriller can seem more hallucination than movie. An account of the ascent of Julian Assange and his collaboration with this newspaper (among others) in the publication of classified documents, it plays like one of those dreams in which your office looks normal enough from the outside, but step within and everything’s subtly different. It’s more Scandinavian, somehow; with car park pillars and glass walls to which people attach crucial bits of paper, as on Crimewatch. The editor has developed a sudden taste for shagpile rugs. And why did you never notice the deputy is a dead spit for the dishy one on Downton Abbey?


The Fifth Estate
Production year: 2013
Directors: Bill Condon
Cast: Benedict Cumberbatch, Daniel Bruhl, Laura Linney, Peter Capaldi


Such tweaks will not get an artistic license revoked. In fact, in adapting both a book on the affair by Guardian journalists David Leigh and Luke Harding, as well as tech activist Daniel Domscheit-Berg’s account of working for Assange, The Fifth Estate is a project in whose sources one can place considerable faith. Certainly, Condon does. At times it can feel he’s risked coherence for chronology, giving us his own surfeit of data without offering sufficient kit with which we can sift it.

THE-FIFTH-ESTATE-TRAILER-facebook director assange berg actors

The plot tracks Assange from the time he recruited Domscheit-Berg, through early online celebrity, before his meeting with Guardian investigative reporter Nick Davies (David Thewlis), who, in consultation with editor Alan Rusbridger (Peter Capaldi) and deputy Ian Katz (Dan Stevens), began working with Assange towards a coordinated launch of hundreds of thousands of secret diplomatic cables and war reports. The timeline bumps a bit, but still pushes forward confidently, with our hacker heroes forever arriving in a new city, before some fresh turn of events requires them to slam shut their laptops and rush off again.

secretnetwork the fifth estate poster

The template is David Fincher’s The Social Network, which took the creation of Facebook and turned it into the character study of a neurotic loner with the world at his fingertips. Both films go big with the swishy visuals, this one deploying a bombardment of text and newsreel to suggest the morass of info, plus flight map-style graphics illustrating its flood across the globe. Both films are eager to show that computing is an arena for creative genius, with much clacking on laptops like Steinways. Both also suffer from the problem that watching someone type isn’t, after a while, that exciting. Condon further ups the dramatic ante with Lynchian visualisations of Domscheit-Berg’s inner life, plus a lot of techno.


And both films choose as their key arc the relationship between men most closely associated with the site’s inception. But while The Social Network kept the focus on the anti-hero, relegating Eduardo Saverin’s role to support, this one bumps up the best friend to a lead, overestimating our interest in Domscheit-Berg’s lovelife. Not that the film is really that interested either. At heart, The Fifth Estate is a good, old-fashioned bromance – Assange even gets to meet the parents (spoiler: it doesn’t go well).


As for Cumberbatch, he’s both the asset and the slight undoing; so magnetic as to render hopes of a two-hander redundant. It’s a virtuoso impersonation, from the deep drawl to louche geek twitches. Suited, he could pass for Nick Cave after a night or two in the fridge. Mostly, though, this Assange is as extraterrestrial as Cumberbatch’s Khan in last year’s Star Trek, a lip-smacking vampire typing through the night. From a distance, he looks like a lizardy angel, courageously saving the world; close up he squints and snuffles like a bleached, greasy mouse.


Introducing the film last night, Condon said he wanted to explore the limits of truth-telling: when was a lie too important not to expose, and when was it so crucial you must not dream of doing so? In that, he has succeeded admirably: this is highly competent catnip for the watercooler crowd. Toronto has prepared itself well for the forthcoming week with a hot potato. Now roll on the cheese.

the-fifth-estate-wikileaks-movie-597x337 poster

The Fifth Estate [Official Trailer]

Fav Top Ten Films #3: Marnie

marnie-tippi-hedren-sean-connery-1964 posterFav Top Ten Films #3: Marnie
Post Create by Jk the secret keeper
Film Review Written by Jennifer Kiley
Illustrated by j. kiley
Post Created On Tuesday 17th September 2013
Posted on Friday 20th September 2013

dedicated to roger ebert film friday
5 stars

Marnie (1964) A+
Director Alfred Hitchcock
Written by Jennifer Kiley

“Marnie” is released to the public following  “The Birds,”  which was preceded by “Psycho.” At the time “Marnie” was not a financial success at the box office but has become a cult film, which this writer has seen in the triple digits since I was a kid, and felt a strong connection to the film. I may have been too young to grasp all the subtleties but it enthralled me.marnie1 washing hair

marnie changing appearancesIt is like watching a car accident for some people, I have never been able to look away. Whenever I find it is on television these days, I pull out my own DVD, unless it is on an ad free channel, and settle in to watch it again. There just is something about “Marnie.” It is addicting and compelling. To watch a young woman go through so much turmoil and the people she meets all seem to be out to try and take something away from taxi marnie arriving at mother's home

marnie mark at desk in lightning storm

In the first scene, Margaret Edgar,  alias Marnie is introduced as she’s walking on the platform of a train station. The film’s protagonist, played by Tippi Hedren of “The Birds” fame, is constantly changing her appearance away from her natural blonde, to a disguise of varying hair colours, in order for her to take on new identities.

Marnie_Tippi_Hedren_&_Sean_Connery holding her during lightning storm

marnie  sis trying to figure out marnie while talking to markShe moves from job to job, always as someone different. Now, there is a reason she does all these makeovers. Simply put, she is a kleptomaniac. She gets hired into job where the bosses are thrown by her beauty and hire, more times than not, without any references. The dirty old men that they are, get what they deserve.  She rips them off of lots of money from there supposedly secure safes.

Hedren, Tippi (Marnie) breaking in to rutland safe

marnie at race track sitting at table mark and marnieOne of these times, Mark Rutland happens to be visiting her employer and cannot help but notice her beauty and her strange tick. She pulls down her skirt just a shade, to give the appearance of being modest, when in actuality it is to lure in her victims or to unconsciously exhibit her dislike of any man looking at her in a sexual manner.tippi-hedren sean-connery alfred-hitchcock-marnie returning moneyWe learn that she’s a thief, an unstable woman who moves from job to job, changing names, physical appearance, and wardrobe.

sean_connery_tippi_h in state bedroom on ship in robesShe is hired as a secretary by Mark Rutland (Sean Connery), He, of course immediately after he observes her pulling down the hem of her skirt. Unfazed, she steals money from his company’s safe and then disappears.

marnie mark holding marnie getting ready to kiss her

marnie on ship mark trying to kiss her but she has frozen upMark, however, is smarter than she thinks he is, and upon discovery of the theft, he searches for her and finds her. At this point, Mark announces his intent to marry her, instead of reporting her to the police. Marnie has no alternative but to comply.

MARNIE_naked just before mark forces her to have sex

Marnie_Trailer Tippi_Hedren naked mark pulled off robe he is about to have sex with herMark slowly becomes aware of Marnie’s problems, including her kleptomania and her being emotionally fragile. Eventually, he realizes she had a troubled childhood and this is the cause of her problems.marnie lying on bed looking in a trance

marnie after she almost drowned mark rescued herMark is sincere in wanting to help Marnie. Trying to give her a sense of hope but instead, in the beginning he causes her more pain than comfort. There is an element of a Freudian psychological condition growing within her, which needs examining and exposure, in order for her to regain any sense of balance in her life.Marnie-sean connery shirt pants in mansion bedroom area

marnie in bd mark and sister of dead wife standing next to bedMark wants to play the psychiatrist who helps her. In one scene when Marnie is having a nightmare, Lil gets to her first, but Mark quickly dismisses Lil away. He attempts to question Marnie. They end up playing free association, at Marnie’s suggestion. She says to Mark, “I bet you can’t wait to play psychiatrist.”marnie mark playing word association with marnie

Marnie saying goodbye to mark on his way to workThat’s how the game begins, as a challenge. Marnie felt she would push Mark away if she played along with his attempts to help. If she succeeded, she thought he would just leave her alone. It backfires on Marnie. It starts out simple, but the words Mark starts slowly to trick Marnie. He gradually builds up the speed of firing the words at her until he gets to “red.”marnie with her horse forio

marnie with mark and horse forio head against his headWhat happens when Marnie hears this word, you need to see the film to watch how this develops and what happens when Marnie is made to confront the word “red.”Marnie descending stairs for the party white long dress

marnie and mark at party strutt is thereThroughout the film, the colour “red” is significant, and Mark is trying to figure out what is its significance. He does want to help her but he has his own nature with which to contend.  Mark keeps trying until he eventually gets a lead in which he feels could resolve Marnie’s nightmares.

marnie1-1 back from the hunt death of horse

Mark is gentle with Marnie, once he establishes with her, he is in control. Not to destroy her, but to help her regain a sense of well-being. He realizes she has many sensitivities, one of which is her loathing the touch of a man, any man, including him. He is patient and tries to be loving, tender and understanding. But >he is  motivated by intense feeling of desire. Marnie is beautiful and desirable.

Sean Connery (Mark Rutland)Near the end of the film, a mutual expression of love grows into a feeling of hope. He takes Marnie to see her mother. But before he does this he explains to her, they will work out somehow the thefts she committed. With some understanding and explaining and offering up the amount of money she stole, Mark feels people will be understanding when they discover just what Marnie went through when she was young.

marnie preparing for the fox hunt

Eventually, his lust and patience collide. The gentleman loses the battle with sensitivity. He is no longer, in a moment of temptation, able to hold back his urges. His need to have his wife, Marnie, overcomes his control to be reserved and understanding. He is overcome by a powerful urge to possess what he desires. In the following obvious statement, “I’ve really trapped a wild thing this time,” demonstrates some of his need to dominate and to control her completely.

tippi_hedren_marnie about to shot injured horse foriomarnie handing gun to mark at houes after shooting forio her horseMark and Marnie show up at her mother’s place. After they literally push their way into the house, past Marnie’s mom, a lightning storm explodes. Marnie begins to react with fear. Her mom, Bernice wants them to leave. When Marnie tries to seek comfort from her mother at any time, Bernice cannot handle the closeness and rejects her daughter repeatedly, always saying the same phrase: “Marnie, honey, you’re achin’ my leg.” It’s when Marnie rests her head in her lap, she is always rejected. A relationship so tenuous and confusing. Marnie never understands why her mother always pushes her away.

marnie in rutland safe colourIn the final moments of the film, a great deal is explained by the scenes which show exactly why Marnie developed into the person she has become. Now you know I am not going to tell what happens in this review. It is a must see film and the ending is a real killer.marnie  night sailer is killed by marnieThe last frames of the film show Mark and Marnie driving away, heading toward the docks, there appears a ship in the harbour. There are sea gulls flying about and children are playing jump rope while singing a song.Marnie end of film with mark at mother's place she is telling the whole story of the deathThe dock is obviously a mat but the film was made a long time ago and it does give the odd impression you are on a stage. As though the reality is all a dream. As the effect of the revealing sequence appears to be a dream.marnie when a child when she kiled sailor end of filmTo explain the colour “red,” it is left to the observer to put the pieces together. What does “red” symbolize to most people? Is it a fusion of sex, violence, and death? Is this the overriding emotional struggle throughout the film? These questions can only be answered by watching this visually enhancing film, with tension continually building until its conclusion, where all is revealed in a most dramatic and disturbing finale.marnie mother telling about letter sweater and getting pregnant with marnie


Marnie Edgar (Tippi Hedren)
Mark Ruthland (Sean Connery)
Lil Mainwaring (Diane Baker)
Sidney Strutt (Martin Gabel)
Bernice Edgar (Louise Latham)
Cousin Bob (Bob Sweeney)
Man at the Track (Milton Selzer)
Mr. Ruthland (Alan Napier)
First Detective (Henry Beckman)
Rita (Edith Evanson)


Produced and directed by Alfred Hitchcock
Screenplay: Jay Presson Allen
Based on the novel by Winston Graham
Camera: Robert Burks
Editor: George Tomasini
Music: Bernard Herrmann
Production design: Robert Boyle
Costumes: Edith Head
Tippi Hedren (Marnie) and Louise Latham (Bernice Edgar)

Marnie Trailer — Hitchcock — Tippi Hedren — Sean Connery

Private Writings: Chapter #26 — Wizardry of Id

private writings by jennifer kileyPrivate Writings: Chapter #26 — Wizardry of Id
Written by Jennifer Kiley
Illustrated by j. kiley
Published Introduction & Chapter #1 On 19th March 2013
Published Early Tuesday AM
Posted On 17th September 2013



Crypticistic Synopsis:

I am writing to Dr. Annie Haskell. My form of storytelling is through letters containing dreams, thoughts, poems, music, describing my script ‘Brief Sacrifice,’ already made into a film but not yet released, psychotherapy, inspirations, reflective comments, the inner workings of the mind, soul, body, emotions, and bipolar. I prefer mentally creative, interesting, or having a brain misfiring. Included in the mix are childhood abuse, car crashes, near drownings, drugs [the illegal kind at present], hallucinations, hypersexuality, time warps, finding answers to unsolved mysteries, infatuation, imagination, fantasy,

and a need to discover my bliss.
See you inside.
— Namaste! Madison Taylor

Private Writings: Chapter #26 — Wizardry of Id

Tuesday 18th March 2008

Dear Annie,

I have been feeling like I am close to the edge. Shortly, after leaving our session, remembering what we talked about triggered an awful reaction inside of me. My psyche is in a full blown depression. Talking about Dr. George, feeling like he was raping me, making me have to be in a room with him again. He forced me. If I didn’t I would have lost you before I even had a chance to find you. He had no right to dangle you as a piece of candy. I submit and get raped. I say no, I lose you. How is that acceptable for a therapist to repeat my abuse on me so I will get the attention I need so badly. Why did you let him do that? Now I feel suicidal. The darkness is surrounding me. It feels like the shadow creatures in “Ghost.” They are going to pull me into Hell. Any moment I am going to be forced to kill myself.

You should have stopped him. Never agreed to his terms. Just accepted me and told him to go fuck off. I didn’t deserve to be forced, when I already made it clear I didn’t want to do what he wanted. How should I feel? How can I react any differently? Now, I am having my doubts. Are you going to protect me from my nightmares? Keep them away from my dreams? I have imagined being with you, doing therapy the right way for so long. I never thought you would be part of terms from him in order for me to be with you. Should I be disappointed or feel lucky? I got my dream therapist. Or so it seems.

You did protect me in the closure session, but I shouldn’t have had to be there. It made me furious. I felt you held me inside your power. You threw up a protective shield. I felt it. But he was there, too close, so creepy. I couldn’t look at him. My skin crawled. He was looking at me firing off lies. Just like my shadow mother did many years ago.

When I was a teenager. She came to one of my sessions with my first therapist. In front of me, she spoke words coated with black tar. All lies. Professed she had no idea what I was talking about when I said I was tortured by her. She denied ever doing anything to me. At that point, I wasn’t about to tell her about my other abusers. It was sufficient to try to confront her with my therapist to protect me. In the last moments of her presence in my therapist’s office, I just lost it. I couldn’t stand hearing the lies for a minute longer. I fired off at her a list which grew in my head since I was little, of all the abuses she committed on my flesh, my mind, my emotions. I had to cut myself off. It was a painting without a canvas to record the truth. She shook her head in denial. Making it seem to my therapist I was making the whole tale up in my imagination.

After my therapist returned from escorting her back to the waiting area, she took a seat at her desk and looked at me. All I could say to her was I am not crazy. I wasn’t lying. Her response: “Your mother is crazy. Of course, I believe you. She was lying or had buried what she had done so deep, she believed her lies. It is quite possible if she had remembered her abusing you in the horrible way she did, it would literally drive her over the edge into complete madness. It is enough she is borderline, with one step inside of madness.”

Her words reassured me I was actually sane. She told me if I was going to “lose my mind,” it would have happened while I was doing all the LSD and smoking pot. I did have grand hallucinations and moments when I thought I had lost touch with reality. LSD really can make you feel paranoid. What the fuck I was thinking, doing hallucinogens. I put them into my body. I will stop short at doing mushrooms. They are a spiritual experience. I read the whole “Bhagavad Gita” while tripping. Whoa, that books takes you to such heights of deep awareness. I felt Bliss. True Bliss. That was a worthy experience.

Annie, writing to you or just writing has made me feel a bit better. Why do people fuck with other people’s minds and lives?

I think I am freaking a little because I told you today about my letters and poems. They have been my secret for so long. Revealing I wrote to you made me feel too vulnerable. You want me to bring them to my sessions and to read you some of what I write, especially the poems. You, also, liked I was telling you the story from my script for Scottie and my film “Brief Sacrifice.” The idea of a secret society guarding Nikola Tesla’s secrets. The thought of a perfect Utopia. If anyone could pull off setting up something so grand “Tesla” could. I didn’t tell you what is in the Silver Box. I am not sure I should reveal the secret. It would ruin the mystery of the film.

It is such a cool secret. I will give you a hint. “Anywhere is possible, as long as it has happened already, somewhere in time.”

Can you guess from this clue?

I think I will write my poem for you. See if I can shake the rest of these feelings of the shadows surrounding me. Wanting to do harm to me or wanting me to do harm to myself.

I want you to know I want to trust you. What you did with him, felt like a betrayal. You conspired to force me to give in against my will and better judgement. I am not sure it will be easy for me to get past it. We need to work on not forcing me into something I don’t want to do. When I say “No,” I need to be respected. Words meant nothing to my abusers, especially the words, “NO” and “STOP.”

I am going to close the letter portion here and continue on to write my feelings into a poem. Maybe, I will better express what is happening inside my mind and heart, I do have strong feelings building up and putting pressure on my psyche. You are my wizard now. You must help me understand myself. Why I am unable to let go of my feelings, what am I feeling, and what the hell drives me. The highest concern in my head is why I cannot enjoy anything that would bring pleasure to anyone else.

Wish me luck on writing a poem for you, Annie. If it is going to be my first, I want you to see inside of me.

I am signing out on my letter to you.


Annie Haskell --- Madison Tayler's Psychoanalyst's Office

Dr. Annie Haskell’s Office as a Psychoanalyst

Somewhere In Time – John Barry

lily open pink purple mix

rain in garden gif

Of Highest Concern
By Madison Taylor
18th March 2008

Intruder thrusts knife
Pressure pierces deep in flesh
Sensations of pain spreading

Bleeding stills body
Force penetrates privacy
Ripping away self-control

Will overpowers
Trembling from intensity
Inner strength halts invasion

© madison taylor 2008

rookie wood  2013  artist paul wood

“A Dream
The beginning always starts out
With a dream.
It is all a dream
In our own nightmares”
— Madison Taylor

Patrick is our Bengal cat in tree. He loves Scotties. They are buddies.   1612x1212

Patrick-our Bengal cat up in his tree-Scottie’s buddy

Havana Brown Kitten  Madison and Scottie's kitten One of the Two   800x600

Havana Brown Kitten Madison & Scottie’s. This cutie is Toker. He has a twin brother Mikey

bedroom perfect high windows light

play is not just play meryl streep

Private Writings: Chapter #25 — Private Dancer

private writings by jennifer kileyPrivate Writings: Chapter #25 — Private Dancer
Written by Jennifer Kiley
Published Introduction & Chapter #1 On 19th March 2013
Published Early Tuesday AM
Posted On 10rd September 2013


Crypticistic Synopsis:

I am writing to Dr. Annie Haskell. My form of storytelling is through letters containing dreams, thoughts, poems, music, describing my script ‘Brief Sacrifice,’ already made into a film but not yet released, psychotherapy, inspirations, reflective comments, the inner workings of the mind, soul, body, emotions, and bipolar. I prefer mentally creative, interesting, or having a brain misfiring. Included in the mix are childhood abuse, car crashes, near drownings, drugs [the illegal kind at present], hallucinations, hypersexuality, time warps, finding answers to unsolved mysteries, infatuation, imagination, fantasy,

and a need to discover my bliss.
See you inside.
— Namaste! Madison Taylor

Private Writings: Chapter #24 — Private Dancer

Tuesday 11th March 2008

Dear Annie,

What do I say to you about our first day of private therapy.

If you could imagine my waiting for you to come out to get me in the waiting room. My insides were flipping over. The chair could have floated out from underneath me, I was ascending to the ceiling so often. Then it came. Your hand gently resting on my shoulder. The electric current woke me from a trance. My ear buds were in. Music was high, playing ‘Everything I Do, I Do It For You.’ I’m sure you’re familiar with Bryan Adams.

You touched me. It was the first time. So unexpected but I didn’t flinch. Your hand felt so safe. No touch does from people. Why, then was it okay with you? Therapy began in a moment I never will forget.

I didn’t say anything. Just followed you to your office. It was exactly how my mind imagined it. There is a photograph in my head. Your office is exactly identical. I have been seeing the future again.

What did we talk about? I was in a daze. Being alone with you was overwhelming. After the long wait of wishing for just this day. It seemed like being inside of a dream I’ve been dreaming forever. You have been buried, living inside my mind. You are the one.

Explaining what I mean is beyond human words. It is buried in memories outside of time. A recurring sense of familiarity without any connection till now. It is of times past. Other lives. Reincarnation. Having been together before now. We knew and lived in other times together. What I am writing sounds certifiable to most. Look how people tease Shirley MacLaine. People believe but are embarrassed by believing in such seemingly bizarre, other dimensional phenomena. I do believe mostly, but have doubts when others question the strength of my beliefs.

I am so easily influenced. What I believe floats with the breeze and seems too easily changeable as is the direction of the wind. It is not because I don’t belief what I do belief, it’s my need to question everything. Which leaves me feeling confused, as though I stand on the solidness of quicksand most of the time.

Everything in life confuses me. In a moment I will believe in something being as real as anything can be. In a flash the connection is broken. Reality turns into a nightmare of chaotic brainwaves of disbelief. A crumbling of my reality into a collection of delusional thoughts, a puzzle where the pieces don’t fit together any way you try to make sense of them.

I lose track. Stop knowing what to believe. Testing anything becomes too frightening. The fear, is my reality is false, and my delusions are true. What does one do when thinking and feeling like the world is alien, which trips back and forth at will, no control from within me.

I think it is why I like fantasy. Watching movies. Reading books. Writing outrageous fiction. Creating cryptic poetry. The abstract is more acceptable. It can be whatever it wants to be. Change when it wants to. It is simply accepted. A true shape-shifter. Maybe I am one. Never the same. Always someone different.

Will you be able to help me. I need a complete internal make-over. Inside of me lives a very fucked up mess. Filled with fear. Wanting to love but retreating as soon as it feels too close. Reaching for it. Shutting down when it is given. I would say I am really screwed. The up part I let it be cut off. Most of the time I don’t feel up. When I do, it drives everyone crazy except me. I don’t live outside my body. I don’t notice the extreme agitation and rage. I become fixated and driven. I have no idea why I feel the way I do, except most of the moments when I am awake I chase after the muse to keep up. Exactly like Alice with her White Rabbit. I fall down the Rabbit Hole on a regular basis.

The Mad-Hatter is a really great friend, if one can be friends with someone as crazy as you are. Actually, maybe it is easier. Is there a direction we can take to relieve the pressure? The urges to want out of this world. Oh, yeah, the state of suicidal thinking is a regular visitor in my head. We are co-operating companions. I won’t let her harm me, she knows it is true, so the deal is, I let her exist as long as she lets me have my moments of being in my bliss or high, so I can write and create. She even helps sometimes find those hidden meanings and depth I find so elusive. She knows the secret passageways to memories. Knowledge one can’t find in the wide awake world. Too much bright light can hide the views of the darkness. The answers lie in the darkness. The ones I am seeking.

So what did we talk about. I asked you to tell me who you were. Not using those words. You told me you had a daughter in high school, ninth grade I believe. She wants to be an actor. The plays and musicals she’s been in, all were as the lead. See if my memory fails or leads me to the correct answers. Memory failure is common with me. To begin with, she played Maria in West Side Story. Let me think, she was Juliet in Shakespeare’s modernized production of my beloved ‘Romeo and Juliet.’ Marvelous play. Such an ending, an example of extremely bad timing all around for all those ending up dead. Quite a high number but not as severe as Hamlet.

Which brings me to Hamlet. Her school switched things up a bit on Elizabethan rules, had a lady playing a young man in the way of Hamlet. Your daughter was the lucky one to win the sweet role. The sheer fact at her age to succeed at doing a shortened version of Hamlet or any version is extremely difficult. But you told me she always received excellent write-ups in the local paper and school paper, on all her performances. Which makes me feel and think I would like to meet her someday. Make an attempt to write her the perfect part in one of my screenplays. We will discuss this. If she has aspirations toward being a professional actor, Scottie, my partner in life and career, is a director. We have our own production company, ‘Infinite Imaginations, Inc. III.’ If you would like and she agrees, we could arrange a screen test, see how she appears through the eye of the camera.

If you help to fix me, I would be overjoyed to help you with your daughters future in the world of film. It would, actually be my pleasure. You would know she’d be safe with Scottie watching out for her. And I’d write her an Oscar winning role. Not over-confident, am I?

This leads me right into my favorite part of writing to you. I love telling you about my work and particularly my latest script, ‘Brief Sacrifice.’ We left off with Carter pursuing a lead, following the trail of the Magic Silver Box without any seams and impossible to open. Carter needed the input of her three companions, Jasper, Jax, and James, her Savannah Cats. James’ specific psychic ability was the best way to sort things out but they must follow the trail of its origin.

The first destination was the Estate where Carter purchased her Treasure. Hopefully, they could provide information as to the origins or name of the deceased whose Estate was being sold. If Carter had that name, it could lead to other connections.

After arriving, they found the caretaker. He directed Carter to the lawyer’s office who managed the deceased estate. The firm was hired by Jackson Sharp, to take care of closing out the estate. They directed Carter to where she could locate him.

When she found Jackson Sharp, he invited her in, as though he was expecting her. After the amenities, he asked her and her companions to make themselves very comfortable, for he, Jackson Sharp had a story to tell them.

He started out his story as follows: “The deceased was the Leader of the Organization: The Friends of Nikola Tesla. He managed the Friends of Nikola Tesla since shortly after his, Tesla’s, death at a young age . He died penniless after creating amazing inventions. He worked for Edison, whom he had no affection for but was fortunate to have acquired the support of an extremely wealthy entrepreneur in Morgan and later joined by another wealthy benefactor.”

“Tesla was moving forward with his inventions until he came upon a way for everyone in the world to have free electricity by simply putting a specially devised pole in the ground. The best part is the power from these sources would not only make electricity free, it would eventually create absolutely no need for the use of fossil fuels. Oil that is, Texas gold.”

“Well, his wealthy benefactors did not want this invention to ever see the light of his invention. They buried him. Withdrew their financial support. No one was ever going to see his dream in action. It did sneak into the invention of the Tesla Electric Car, which is doing very well.”

“After Tesla’s death, the U.S. Government absconded with all his possessions where he was living, and hid them away. Did they get everything, though? I believed in Nikola Tesla, myself, once I heard the story from the old man who died. I’m sorry I cannot tell you his identity, it was my promise to never reveal his secret.

“Tesla was brilliant. Did anyone believe he would not have secret locations where he would hide his own secret inventions. Especially after all which had been stolen from him. He was sure to want to leave a legacy for the future where he hoped there would be those who would understand his genius and his amazing capabilities. I am privileged to those secrets. During the remaining years of his life, the old man, with a group of secret individuals of like minds, protected Nikola Tesla’s answers to the future of humankind.”

“These secrets are set to be passed down through generations until humankind is worthy of the powers Nikola Tesla put into his work and dreams. Even the powers of electricity free for all is well hidden away until the world can rid itself of the parasites who live off the energy of the masses. Who cast them aside as though they meant nothing. The .01% of the population are those parasites who are starving the world as they destroy the beauty in nature and make slaves of the majority of humankind. Their day will fall. They will disappear for good.”

“On that day, all the secrets will be revealed. Humankind will make a change. All will be new. The world will be recreated. This is Nikola Tesla’s dream and what Friends of Nikola Tesla are protecting until the time comes for his Dream to be put into full action.”

“All of this is contained in a special Silver Box filled with Magical abilities. This Magic has the capability to alter the world enough so that Change and Truth can be revealed. If I am not mistaken,” Jackson Stark said. “You are in possession of this Silver Box ?”

“Yes, that is correct, but how did you know?” Carter said.

“It was meant to belong to you. You were chosen. I will explain, but let us rest now. I will have arrangements made for you, Carter, and your companions to stay here for while. It’s just for your own protection.”

“What protection? Why do we need protection?”

“The contents of the Silver Box is being searched for as we speak. Many extremely dangerous people will not stop ever until it is found, those who have knowledge of it and those who are in possession of it, are all destroyed. What you hold in your possession is truly Magical, with powers you will find very difficult to understand. It is too soon to get into what it is. The time will be soon enough.”

“Now let me show you to your suite, where you can make your selves comfortable. I will prepare a delicious meal for everyone. Don’t worry Jasper, Jax and you, too, James. I know James, you are the Special One with all the psychic talents. It’s rare to find a cat who matches up with a companion who understands his ability. You can, can’t you, Carter! You have the Magic, also. That is partly why you were all chosen. But there you are. I am getting ahead of myself. I will leave now. Get comfortable. You will find snacks for all in the small refrigerator over against the wall, just over there. Now, I take my leave. Dinner will come shortly, I promise. I will ring you on the intercom. Rest. You will need it for what’s ahead.”

He disappeared. They did as he said and all rested.

And I will stop there. Leave you wanting more.

What a day. A dream comes true. Fear is rising. But telling you my tale of Magic calms me down.

I know I didn’t say anything about the group. What I would have to write would take away from the specialness of having you all to myself today. I don’t want to think about group anymore. I wish it would just end. Be done with it. The only reason I still go now is to see you. Now I can do that on my own. I will leave group at saying there is little I will miss. The past too many years have only been a disaster I should have ended long ago. But I know now, why I didn’t. It was meant for me to live through, till the day came I would meet you, Annie. Serendipity. Maybe. Sometimes what leads up to it can be extremely painful. I needed to learn what I didn’t need, to discover what I do need, and want. Enough from that lesson. Let it be over now. Enough!

Time to stop.

Until I see you next time.

Fondly and Gratefully, I sign off with much appreciation to you, Annie.

Always Want To Know You,


Annie Haskell --- Madison Tayler's Psychoanalyst's Office

Dr. Annie Haskell’s Office as a Psychoanalyst

Somewhere In Time – John Barry



rain in garden giftrusting
written by madison taylor
monday 10th february 2008

trusting the newness
memories overturning
in graves their awakening

arms pull warmth to me
body’s touching silky skin
caressing gently my dreams

feeling hands inside
flesh responds in still silence
open wanting pleads let go

© madison taylor 2008

a matter of time --- artist katherine patrick

a matter of time — artist katherine patrick

Nothing Out There — Soundcloud — Soundtrack ‘Brief Sacrifice’

“A Dream
The beginning always starts out
With a dream.
It is all a dream
In our own nightmares”
— Madison Taylor

Patrick is our Bengal cat in tree. He loves Scotties. They are buddies.   1612x1212

Patrick-our Bengal cat up in his tree-Scottie’s buddy

Havana Brown Kitten  Madison and Scottie's kitten One of the Two   800x600

Havana Brown Kitten Madison & Scottie’s. This cutie is Toker. He has a twin brother Mikey

Chateau de Rocher Art Gallery  999x752

Chateau de Rocher Art Gallery

play is not just play meryl streep

Fav Top 10 Films #5: When Audrey Hepburn Won Marilyn Monroe’s Role


Favorite Top Ten Films of All Time [#5]
Breakfast at Tiffany’s: When Audrey Hepburn won Marilyn Monroe’s role
List Created by Jennifer Kiley
Illustrated by j. kiley
Movie Trailers by Jk the secret keeper
Post Created on 21st August 2013
Posted On Friday 23rd August 2013

dedicated to roger ebert film friday5 stars

Favorite Top Ten Films of All Time [#5]
List Created by Jennifer Kiley

#5th — Breakfast at Tiffany’s

Breakfast at Tiffany’s: When Audrey Hepburn won Marilyn Monroe’s role

How Truman Capote’s novella became a great Hollywood film by Sarah Churchwell

Breakfast at Tiffany’s

Audrey Hepburn the perfect Holly Golightly in the film of Breakfast at Tiffany’s

This is a fascinating review. I do not agree Audrey was miscast but I do agree that she was perfect for the role of Holly Golightly. It is a moving, complicated, sad, romantic, thought provoking, amusing film, I feel one of Blake Edwards’ and Audrey Hepburn’s masterpieces. The review coming up by Sarah Churchwell was brilliantly thought out. And tells the tale well of Breakfast At Tiffany’s and the rebirth of two people who have had it rough in their lives. A worthy film to watch for enjoyment but also to find compassion for two lost souls and the learning to love and to feel like you can belong to something and someone. Not in a way that smothers but in a way that sets you free so you are able to love.

I must mention my two favorite scenes in the entire film, not that I didn’t love every scene. But there is a scene out on the fire escape when Holly is playing the guitar and singing Henry Mancini’s “Moon River,” it is so vulnerable a moment. If you are familiar with this song and have seen the film you understand why. The other scene is during a rainstorm, and Holly and Paul aka Fred are searching for something very precious. It makes you frantic and sad and angry all in one moment, through an entire scene. If you see the film for the first time, remember to look for these two scenes. There are plenty of other scenes that move you but not the same as these two.

All Marilyn Monroe fans will be interested in reading this review, also. It seems Truman Capote wrote the novella with her in mind to eventually play the role of Holly Golightly. I love Marilyn but somehow after seeing Audrey Hepburn imprint herself on this role. I cannot imagine Marilyn doing it at all. It doesn’t seem to fit in my mind. It would have been interesting to see her do it on the stage. That would have been a treat if I had been old enough back at the time Marilyn was alive. A note I found out after writing this is that Marilyn rejected doing the part because her coach felt the character was of ill repute and it wasn’t a good impression to make playing someone who people would see as a “whore.” Of course, the way Audrey Hepburn plays the role, one only sees Audrey being her admirable self in a character who is carefree on the outside and heartbroken and terrified of too close a relationship and commitment with anyone, man nor beast.

So enjoy reading a unique approach to Breakfast At Tiffany’s. I will leave you the words, it deserves to be on my Favorite Top Ten List of Films. I feel if you take the time to see Breakfast At Tiffany’s, you will feel the same. It is a delight to watch Audrey develop into a butterfly during the course of the film. Enjoy reading the rest of the review, the photographs, posters, movie trailer(s), interviews, and film clips, and a documentary on the making of Breakfast at Tuffany’s and in the documentary, the joy for Blake Edward fans, being able to see and him talk about a film he was extremely proud to be part of and his delightful in being the director. From my impression, Audrey and Blake had quite the interesting relationship.

I know that Blake’s wife Julie Andrews became friends with Audrey and the ordeal over Jack Warner choosing Audrey to play Eliza Doolittle in My Fair Lady was never really a problem between the two of them. In fact, Audrey told Julie she wouldn’t take the role if Julie didn’t want her to. But then she discovered that Jack Warner was never going to give the role to Julie ever. In fact, he went on to give the role of Guinevere in Camelot to Vanessa Redgrave. For those who don’t know Julie played both the roles on Broadway. So Audrey decided that if Julie was never to get the role then why not her play the role. She really wanted to do it.

Of course, once Audrey began the part, they decided not to let her sing. To me that is so bizarre to cast someone who can’t sing at the level the part called for seems rather ridiculous. If it is a a singing part, you hire an actor who can really sing. [I only say that now. I am grateful that Natalie Wood played the role of Maria in West Side Story but didn't get to sing either. It was usually Marni Nixon who dubbed for most of those females who couldn't do it.]

Now, I use to be so upset with Audrey until I discovered this information and that Julie was truly alright with Audrey playing Eliza. Now I am over it but I really would have liked to see Julie playing Eliza. If she had then what would have happened with Mary Poppins and The Sound of Music? I’m sure she would have done those roles but the timing would have been so off. Instead she gets an Oscar & Golden Globe for Mary Poppins and a nomination for Maria in The Sound of Music and best picture also. And she became the number one star for the 70s. Take that Jack Warner.

And now onto the intriguing review of Breakfast at Tiffany’s written in 2009 by the British Journalist for The Guardian, Sarah Churchwell. Introduction by Jennifer Kiley

Production year: 1961
Country: USA
Cert (UK): PG
Runtime: 115 mins
Director: Blake Edwards
Adapted from Novella Written by Truman Capote
Cast: Audrey Hepburn: Holly Golightly (money for the powder room)
George Peppard: Paul Varjak (kept man-writer-based on Truman Capote except that Truman was gay & Paul is not)Holly calls him Fred
Patricia Neal: (Paul’s designer/keeper)
Buddy Ebsen: Doc (Holly’s Husband-robbed the cradle-Holly ran away from that life)

Sarah Churchwell
The Guardian
Friday 4th September 2009

It doesn’t take much these days for a tale to be described as a “Cinderella story”: anything resembling a makeover, however superficial, will usually suffice. But Breakfast at Tiffany’s really is a variation on the Cinderella theme, the tale of a young girl who escapes a dangerous adolescence and transforms herself through aspiration – a sheer act of will – but who may not live happily ever after. Like Cinderella, it is a story about struggling to escape. And it is a story about self-fashioning. Breakfast at Tiffany’s suggests to every woman – and many of the men – in the audience that they could reinvent themselves, liberate the golden girl hidden beneath ordinary, even debased, trappings.

audrey-as-holly-in-sleep-mask_with cat on back

Much of the writing about the film of Breakfast at Tiffany’s acknowledges that when Hollywood bought the rights to the story, Capote wanted Marilyn Monroe to play Holly Golightly. Most accounts treat this as yet another of Capote’s many idiosyncracies, if they consider it at all – who could imagine Monroe instead of Audrey Hepburn in one of her most iconic roles? But for anyone familiar with either Monroe or the novella, it’s not really that much of a stretch

Breakfast-at-tiffany-s holly singing moon river

In fact, as many of the film’s first critics observed, Hepburn is entirely wrong for Holly, a character who turns out to be a vagrant from west Texas whose real name is Lulamae Barnes. It is difficult to conceive of a woman less likely ever to have been called Lulamae, let alone “a hillbilly or an Okie or what” (as Holly’s agent OJ Berman refers to Lulamae) than Audrey Hepburn. She could be an ingénue, a naif, anything French you like. But a redneck? A hick from a Texas dirt-farm? That’s even more implausible than Cary Grant as an Oregon lumberjack in To Catch a Thief some five years earlier. Every inch of Audrey Hepburn exudes aristocratic chic.

breakfast-at-tiffany-s-after stealing the maskz as a joke with g.p.

Monroe, by contrast, whom Capote knew well, though raised in California rather than Texas, was originally named Norma Jeane (with an E, like Lulamae), and her parallels with Capote’s Holly do not end there. She was a depression-era orphan who was both exploited and saved by older men. As an adult she would allude to childhood molestations (when reckoning how many lovers she’s had, Capote’s Holly dismisses “anything that happened before I was 13, because, after all, that just doesn’t count”). She has an upturned nose, tousled, “somewhat self-induced” short, blonde hair (“strands of albino-blonde and yellow”) and “large eyes, a little blue, a little green”.

Breakfast-At-Tiffany-s-audrey-hepburn-being woken from sleep

She is befriended by an extremely short, powerful Hollywood agent who recognises her potential and helps her reinvent herself, renaming her and providing her with access to education and a more sophisticated veneer. She runs away to New York just as success in Hollywood seems assured – although Holly, unlike Monroe, knows she doesn’t have it in her to be a star, because she lacks the drive that precisely characterised Monroe (as Capote understood). Like Monroe, Holly is in it for the “self-improvement”, as she tells the narrator. She’s been around the block, for which she never apologises, and she ends as an icon, a fertility symbol (the narrator sees a picture of Holly carved as an African fetish). Most of all, Monroe, like Capote’s Holly, “is a phony. But on the other hand . . . she isn’t a phony because she’s a real phony”. The novella’s Holly, her agent knows, is “strictly a girl you’ll read where she ends up at the bottom of a bottle of Seconals”. Mind you, the novella was published in 1958: four years before Monroe ended up at the bottom of a bottle of Nembutals. It’s a fable about a Monroe manqué, who lacks her ambition – and may thus escape her fate.

[I do not agree with the statement Marilyn ended up at the bottom of a bottle of Nembutals. There are many theories which do not support that conclusion. It is possible some found Marilyn asleep after taking something to help her drop off. But I believe the Nembutals were introduced into her system in a manner where they would dissolve long enough to disappear from her system before an autopsy could be done. There were no Nembutal found in her system. Yet, she supposedly died from an overdose. Nothing she took herself. The amount which would have killed her she couldn't have taken without passing out before all the pills were swallowed. A curious dilemma, and also, her body had been moved from the location where she died and she was placed into her bed. She was found lying in the wrong position for the way the evidence was recorded. So, I object to the making of a comment about Marilyn "ending up at the bottom of a bottle of Nembutal." She didn't and I still believe someone took her life. There were too many reasons for others to have done it than for Marilyn to have been able to succeed at taking the lethal dose. My opinion by Jennifer Kiley]

Breakfast-at-Tiffany-s-audrey-hepburn-looking tearful

Blake Edwards’s film adaptation was released in 1961, a little less than a year before Monroe died. And much to her disappointment, she didn’t win the part that had been written for, and about, her. Holly could have been the performance of a lifetime – as it would have been the performance of her lifetime. Moreover Holly, despite being blonde, is decidedly not dumb, and Monroe was desperate to escape being typecast.

Hepburn, Audrey (Breakfast at Tiffany's) with g. peppard

But Hepburn won the part, and in retrospect it is easy to see why. Hepburn, far more than Monroe, had become indelibly associated with the transformative Cinderella makeover. Although Holly, like Monroe – and like Capote, in fact – all sprang from a Platonic conception of themselves (in F Scott Fitzgerald’s famous phrase), for them the fissures between the earlier self and the public persona always showed, and threatened to split them apart. Hepburn was the only one whose stardom seemed to reflect her authentic self – as if she were not an actor but a true princess, an authentic queen.

holly at door with mask up on forehead

In one way, Capote was certainly an authentic queen. But he was never able to shed his sense of belonging on the margins. The neglected child from Louisiana, the prodigy who transformed himself into a celebrity, never believed that he belonged in the castle. As he wrote of his own alter ego, the unnamed narrator of Tiffany’s, he lived perpetually with “his nose pressed on the glass”, wanting “awfully to be on the inside staring out”. Capote, who was born Truman Parsons, was himself an aspiring Cinderella; like Holly he was renamed, reinvented, and left eternally waiting for the right fairy godmother.

holly hanging with g.p.

Cinderella was not, originally, a poor child raised to the rank of princess. In the stories of Charles Perrault and the Brothers Grimm, Cinderella begins life in privilege and wealth – in earlier versions she’s even a princess – who is wrongly deprived of her rightful status by those who envy her power and beauty. It is less a story of metamorphosis than of revelation: the transformation only reveals the original self. On screen, we never saw Norma Jeane become Monroe: we knew her only after the fall. But for Hepburn, every definitive role leading up to Breakfast at Tiffany’s – and continuing to My Fair Lady – featured her being transformed, the butterfly emerging from the chrysalis. And unlike Monroe, who was always seen as having transformed into something artificial, Hepburn was only ever transformed back into her own luminous, immanent self.

holly singing moon river with guitar playing in arms

The story of our culture’s subsequent love affair with the film of Breakfast at Tiffany’s – and not with the novella, which may be admired, and certainly has the cachet of its author, but is hardly well-beloved, much less well-read – is really about our love affair with Audrey Hepburn, the movie star. The persona she consistently projected was of authentic, intrinsic refinement, of chic sophistication that was never brittle or cold, of an instinctive stylishness that reached its epitome in Breakfast at Tiffany’s. The moment when Hepburn first emerges in the film still ranks as one of the great screen makeovers of all time.

The title credits roll over a scene of condensed, symbolic wishing: Hollywood as dream factory. Hepburn is standing, very slim, in a long, black column dress with a glittering, enormous collar necklace and the trademark black sunglasses that Jackie O would adopt a few years later. (Jackie O’s supposedly iconic looks markedly resemble Hepburn’s from a few years earlier.) The camera encourages us to gaze longingly with her through the Tiffany’s window at diamonds and other jewels; and then she strolls up the street, munching the doughnut that we know is probably the only doughnut Hepburn ever ate in her life. But it is precisely these little touches of normality, of the ordinary, that humanised Hepburn’s image.

holly with cat in apt with unopened boxes

The next time we see her, she is asleep, wearing an absurd eye-mask and dangling ear-plugs with little blue tassels. She groggily awakes and pulls on a man’s tuxedo shirt – one of the film’s few insinuations that she may entertain “gentlemen callers” overnight – and, hair awry, opens the door to George Peppard, playing Capote’s alter ego: straightened, masculinised and elongated (Capote was just 5ft 3in). Paul Varjak – as the film arbitrarily names the writer who will be cast as Holly’s obligatory love interest – is locked out; Holly lets him in and realises that she has an appointment. A frantic rush to get dressed ensues, as Holly hunts for alligator pumps, brushes her teeth, puts on an enormous hat, and emerges from the bedroom as – voilà! – Audrey Hepburn. The camera lingers lovingly on a close-up of her dazzling smile as she asks, half-coyly, half-sweetly: “Surprised?” “Amazed,” responds Varjak – and so are we, the transformation is so quick, so easy, so absolute. Or we would be amazed, if it weren’t for the fact that we were always waiting for it.

walking around NYC trying to look for something to do thats illegal

One of the things that makes this transformation so effective is its apparent effortlessness. All she needs are the right hat and a little black dress (it was Hepburn who turned the Little Black Dress into the wardrobe staple it remains today) and there she is, like magic, with the wave of a fairy godmother’s wand. From Now, Voyager to Pretty Woman, Hollywood has sold stories that centre on metamorphosis, when ugly ducklings become beautiful swans or streetwalkers become homemakers. The appeal of transformation is the appeal of self-improvement: some women are born beautiful, some have beauty thrust upon them – but Hollywood promises that beauty can be achieved. The romance of Breakfast at Tiffany’s is not really with Peppard (in the only leading role he’ll be remembered for) but with Hepburn herself, with the fantasy of artless sophistication she embodies. Hepburn (again, unlike Monroe) never appeared to try too hard.

Holly Golightly at Tiffany's Windown in Blake Edwards Breakfast at Tiffany's

Holly Golightly at Tiffany’s Windown in Blake Edwards Breakfast at Tiffany’s

Hepburn’s iconic transfigurations extend back to her first, Oscar-winning, starring role in Roman Holiday in 1953 (the same year, incidentally, of Monroe’s breakthrough role in Niagara). In a kind of inside-out Cinderella story, Hepburn, as Princess Ann, has one perfect day in Rome, riding around on the back of Gregory Peck’s moped, before the clock strikes midnight and she returns to her duties, without Prince Charming, but secure in the knowledge of his love. And part of her metamorphosis comes when she crops her hair, trades a few accessories, including her shoes, rolls up her sleeves, unbuttons her collar, and instantly achieves the insouciant gamine look that would become her trademark.


Hepburn’s next film, Sabrina, featured a more prolonged transformation, again from pony-tailed adolescent into pixie-cropped personification of soignée style. Sabrina added a fairy godfather in the form of a French baron so old that his intentions – and hence her morals – are never in question. Soon after came Funny Face, and another makeover, the first that the story represents as requiring an army of fashionistas and photographers (but only because it takes that many to overcome her character’s resistance to being objectified). Eventually, with My Fair Lady, Hepburn would play the ultimate transformed object in Eliza Doolittle, a woman who is initially not at all the author of her own transformation. When Hepburn started playing the Princess, she stopped being Cinderella – for good. It was almost as if she didn’t have to, because her definitive persona had been fixed. The princess had emerged.

The film of Breakfast at Tiffany’s, like Capote’s novella, sees Holly as half-Cinderella, half-Pygmalion – Doc, who saves her, and begins to educate her, however primitively; like a female Huck Finn, lights out for the territories, escaping the confinements of “civilization”.


But Hollywood would never release Hepburn into the wild – not least because she so patently doesn’t belong there. The film also has a romance with New York, which it doesn’t want her to leave. So along comes the final Pygmalion, the writer Paul Varjak, who finishes domesticating Holly. Capote’s Holly is too mobile and erratic for a Hollywood just emerging from the 1950s. She is a vagrant playgirl; her only permanent state, as she prints on her calling cards, is that she is “Miss Holiday Golightly, Travelling”. And it means something very different for a woman to be a tramp than for a man.


This is why, for the story to work as a romance, Holly’s indiscretions need to be cancelled out, as it were, by those of a lover who has also fallen prey to the lure of sexual economics, who has also sold himself. It is not just that Hollywood has to inject a love story wherever it finds a beautiful woman (although that is certainly the case) but that the man must ultimately redeem her, and himself, from a life of sexual opportunism that she describes in euphemistic terms as receiving money “for trips to the powder room”, and he describes as “having a decorator”.

Audrey Hepburn wiht George Peppard

Audrey Hepburn wiht George Peppard

Like Fitzgerald’s The Great Gatsby, Breakfast at Tiffany’s is fundamentally a story of the American dream. Capote’s novella, if not about nightmares, is certainly about the costs of the dream. The film – like most Hollywood movies – is determined to view dreams as wish-fulfilment. And by no coincidence it took a European movie star with aristocratic heritage to bring the American dream to life in all its sentimental romance, because the American dream is, in part, a dream about being the real thing, about belonging. Like Holly Golightly and Monroe, Jay Gatsby is a real phony. But Hepburn was a dream of authenticity rather than imitation, of success rather than failure, of security rather than escape.

looking cat in the rain b.a.t.

You can call it sentimental, even cheap and manipulative. Capote certainly did, and many critics followed suit: an early review declared that Hepburn was “viciously, pathologically miscast” as Holly. This is undeniable – but it is also why the film works on its own terms, and has become so culturally distinct from the novella. Despite how much of the story and even of Capote’s dialogue it keeps, it is a fundamentally different tale because its tone and mood is so at odds with Capote’s. The film is, in a word, sunny; it is full of hope. The novella is full of shadows and terrors.

Found Cat in the rain near where holly let him out of the car

Found Cat in the rain near where holly let him out of the car

In the end, though, shadows are no truer than sunlight. Edwards’s film is unquestionably escapist, and it eagerly encourages us not to think about how sordid and sad its characters and story actually are. That’s what romance is. And in fact Capote’s novella is rife with its own sentimentalities, in love with a romantic notion of loss and escape. Capote’s Holly is essentially a variation on the hooker with a heart of gold, and the novella is dominated by a kind of willed cynicism, a veneer of sophisticated experience belied by the ending, in which the narrator sighs over his unconvincing hope that this “wild thing” has at last found a home. The film Breakfast at Tiffany’s is dominated by a willed innocence, a romance with romance itself. But in fact the innocence of Capote’s Holly is willed, too – which is what Hollywood gets right. As she tells the narrator in the novella: “I haven’t anything against whores. Except this: some of them may have an honest tongue but they all have dishonest hearts. I mean, you can’t bang the guy and cash his checks and at least not try to love him.” The morality lies in the effort to have an honest heart, genuinely to feel the emotion: and the film shares this moral code. Hollywood has always pandered to us, selling a vast, vulgar and alluring but false beauty. The makers of the film are, metaphorically speaking, banging Holly; they’re exploiting her story, selling her out, maybe even corrupting her – but they are also trying very hard to love her, and they want us to love her, too.

Inky Cherie — Moon River — Composed by Henri Mancini for Breakfast at Tiffany’sA very delicate rendition of Moon River. A Beautiful voice with very little accompaniment.

Breakfast at Tiffany’s Trailer

Audrey Hepburn – Moon River

Andy Williams — Moon River — Clips from Film

Breakfast at Tiffany’s: Paul says “I love you” – Library Scene

Documentary on Breakfast at Tiffany’s Movie – Blake Edwards & others discuss the film