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Stonewall: The Movie

Here's one of those terms that's new for me. Since I hate ever feeling that I am locked out of conversations based on generational vocabulary...I've finally looked up this term I've been reading in gay articles.

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What does “cis” mean?

A “cis” person is a person who was assigned a gender and sex at birth that they feel comfortable with. Typically, cis men are men who were assigned male at birth and feel that the words "man" and "male" accurately describe who they are. Likewise, cis women are women who were assigned female at birth and feel that the words "woman" and "female" accurately describe who they are. Generally, cis people feel comfortable with the aspects of their bodies that others inscribe with a sex and gender, and do not seek to modify their bodies in ways that would change how they or others place them in a sex category.

What is “cis” short for?

“Cis” can be short for “cissexual” or for “cisgender”. “Cissexual” and “cisgender” sometimes mean different things, but there is no single, agreed-upon definition for either word. Likewise, there's no single, agreed-upon definition for the words “transsexual” and “transgender”.
 
Here's one of those terms that's new for me. Since I hate ever feeling that I am locked out of conversations based on generational vocabulary...I've finally looked up this term I've been reading in gay articles.

******************************************************************

What does “cis” mean?

A “cis” person is a person who was assigned a gender and sex at birth that they feel comfortable with. Typically, cis men are men who were assigned male at birth and feel that the words "man" and "male" accurately describe who they are. Likewise, cis women are women who were assigned female at birth and feel that the words "woman" and "female" accurately describe who they are. Generally, cis people feel comfortable with the aspects of their bodies that others inscribe with a sex and gender, and do not seek to modify their bodies in ways that would change how they or others place them in a sex category.

What is “cis” short for?

“Cis” can be short for “cissexual” or for “cisgender”. “Cissexual” and “cisgender” sometimes mean different things, but there is no single, agreed-upon definition for either word. Likewise, there's no single, agreed-upon definition for the words “transsexual” and “transgender”.

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Hey, Tamps ~

You're not the only one who is feeling mildly disoriented over all the new terminology. . . though I suspect you're dealing with it a whole lot more equably (and graciously) than I. . . because. . . the ENGLISH LANGUAGE is a very big fetish, for your faithful correspondent!!! LOL!

I hope I've made it clear, over the last little while, that I have full sympathy for people who are transgendered. We all love Dimitri, who ultimately disclosed that she was really, Anya. . . and her story was very moving.

I will say, though, that the use of language is never "neutral" when it comes to the expression of power-relationships. This is especially true in this circumstance, and, while this has doubtless occurred to you, Tampa - let's break it down for those who perhaps haven't given this a lot of thought.

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The old linguistic convention was - "transgendered" vs. "male and female", in a conventional sense. That is, the sense in which (statistically speaking) most people feel themselves to be "male" or "female" in accord with their natal physical embodiment. (Sexual ORIENTATION is, of course, separate from this.)

Some transgendered activists now seem to be quite discomfited by the old dispensation, because (and I get this) it implies that they are an "unusual case", as opposed to people whose gender-identity conforms to their "birth-bodies" (if I might be so bold as to coin a phrase). To a lot of transgendered people, the conventional usage seems to imply that, being transgendered (with their gender-identity not conforming to their "birth-bodies", at least as first or immediately visible) they are somehow abnormal, or "second-class", in some way.

The coining of the term "cisgendered" ("cis" being a Latin prefix meaning, "on the same side of", as opposed to "trans", which means "across", or on the "other side of") is an attempt to level the scales, and put transgendered people on a "level playing field" with people who are (in the old usage) "male" or "female" in the previously-accepted sense of the word. It is a deliberate de-centring, or decontextualization, of the old terms, "male" and "female", in a bid to render these terms obsolete. Existentially, it amounts to an assertion that there is NO SUCH THING as "male", or "female".

Rather (on this new linguistic model) there are cisgendered people, whose gender identity is consonant with their physically apparent bodies; and transgendered people, whose gender identity DIVERGES from their physically apparent bodies. This is a way of expressing, and even ENFORCING, linguistically, the idea that gender is variable, or even perhaps arbitrary, and bears no necessary relation to the physically apparent body, particularly at birth, but also even at later stages of human development.

The TRUE measure of gender, in the "soft" version of the new gender-related lexicon, is internal and neurological - still with a biological basis, but a subtler, less perceptible one, than any visible to the naked eye. In the "hard" or militant version of the new gender-related lexicon, gender may have some neurological correlate, or it may simply be a matter of individual preference or choice, but in either case, it really doesn't matter. In short, gender ceases to be a biological thing, and becomes so arbitrary, and fluid, it really ceases to exist.

Tampa, I will 'fess up and declare, I can go some distance with the soft version, as outlined above - - - but I don't find the "hard" version (that gender is arbitrary and pretty much ENTIRELY disconnected from one's physical existence) very persuasive.

Nonetheless, the "hard version", as a way to interpret gender identity, seems to be gaining ground in the transgendered community. Whence cometh articles like this one, from Christin Scarlett Milloy - which suggest that infant gender assignment is, per se, and in se, child abuse: http://chrismilloy.ca/2014/06/dont-let-the-doctor-do-this-to-your-newborn/

According to this "hard version" of gender linguistics - gender-identification must be kept open, indefinitely. The terms "transgender" and "cisgender" are equally necessary, because they mark two poles of a fluid and potentially ever-shifting sense of gender identity. And, further, the conventional pronouns "he" and "she" must be eliminated in favour of new gender-neutral pronouns such as "xe" (supplanting "him" and "her"); and "xyr" (supplanting "his" and "hers"). https://en.wiktionary.org/wiki/xe

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This is all very well and good, except, Tampa, I think it is a bit of a slippery-slope to linguistic unintelligibility. And here, perhaps I shall take a couple of brickbats, for being "transphobic" ~ I dunno.

But I'm a mean old conservative - not least, when it comes to LANGUAGE. Let's face facts:

*Transgendered people ARE, in fact, a tiny minority of the whole population.
*The great majority of human beings ARE "cisgendered" ~ that is, in terms of gender identity, they identify clearly with the physical markers of gender as "male", or "female".
*Because of this, gender-related nouns and pronouns are a regular part of ordinary life.
*To admit this as a practical matter is (I think) in no way to deprecate those who are transgendered, or of fluid or indeterminate gender.
*Furthermore, as a practical matter (I think) to up-end the English language as a political salve to soothe the self-esteem of transgendered people, is not only a pathway to everyday confusion. . . it is also to PATRONIZE transgendered people, with cheap linguistic panaceas.

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I disagree with this approach, fundamentally. To my mind, it is far more important to concentrate on providing physical, and emotional, and economic, and PRACTICAL support to transgendered people. So that, to take a case in point, when Dimitri explains to us that she is (and has always been) ANYA, we ought to:

*Rally around her in emotional support;
*Ensure that she suffers no discrimination at school, in the workplace, or in seeking housing;
*Ensure that she is recognized for her true self, and has access to all facilities and amenities in the community, which every citizen needs; and,
*Join her in fighting BACK against anyone who would disparage, insult, or wish to HARM her, in any way.

THESE are the crucial tasks, IMHO - not bending the English language out of shape, to flatten or negate, perceptions of gender which will, I think, always be with us.

It's a tough issue, and I am sure we ought always to err on the side of compassion. But I think some of the linguistic games-person-ship, has gone just a bit crazy.

"A" XOXOXOXOXOXO
 
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This is all very well and good, except, Tampa, I think it is a bit of a slippery-slope to linguistic unintelligibility. And here, perhaps I shall take a couple of brickbats, for being "transphobic" ~ I dunno.

But I'm a mean old conservative - not least, when it comes to LANGUAGE. Let's face facts:

*Transgendered people ARE, in fact, a tiny minority of the whole population.
*The great majority of human beings ARE "cisgendered" ~ that is, in terms of gender identity, they identify clearly with the physical markers of gender as "male", or "female".
*Because of this, gender-related nouns and pronouns are a regular part of ordinary life.
*To admit this as a practical matter is (I think) in no way to deprecate those who are transgendered, or of fluid or indeterminate gender.
*Furthermore, as a practical matter (I think) to up-end the English language as a political salve to soothe the self-esteem of transgendered people, is not only a pathway to everyday confusion. . . it is also to PATRONIZE transgendered people, with cheap linguistic panaceas.

*************************************************************

I disagree with this approach, fundamentally. To my mind, it is far more important to concentrate on providing physical, and emotional, and economic, and PRACTICAL support to transgendered people. So that, to take a case in point, when Dimitri explains to us that she is (and has always been) ANYA, we ought to:

*Rally around her in emotional support;
*Ensure that she suffers no discrimination at school, in the workplace, or in seeking housing;
*Ensure that she is recognized for her true self, and has access to all facilities and amenities in the community, which every citizen needs; and,
*Join her in fighting BACK against anyone who would disparage, insult, or wish to HARM her, in any way.

THESE are the crucial tasks, IMHO - not bending the English language out of shape, to flatten or negate, perceptions of gender which will, I think, always be with us.

It's a tough issue, and I am sure we ought always to err on the side of compassion. But I think some of the linguistic games-person-ship, has gone just a bit crazy.

"A" XOXOXOXOXOXO


I agree with your take on this one Ambi. I want to be supportive of transgendered people of course. But I don't think it wise or even attainable to try to change the whole language usage to omit or change pronouns that describe gender. Trans are in fact a tiny segment of the population. We can use the pronouns they prefer to be referred to by. But I don't see the point of creating new ones for the whole population to use.
 
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The movie did open on Friday I think. I saw one review in the New York Post and it was not favorable. I will look for some on line reviews to post here.
 
I heard the same thing. That the reviews have not been good. I haven't had a chance to read them for myself though. So I'd appreciate any posts that show some of the reviews. :)
 
From, Salon
NEWS POLITICS ENTERTAINMEN LIFE TECH

Inside the “Stonewall” catastrophe: A dull, miscast, misguided, bloated, schmaltzy and shlocky disaster of a movie
Director Roland Emmerich has made one of the most tone-deaf and offensive movies in recent memory
JACK MIRKINSON

stonewall5.jpg


“Stonewall,” the newly released movie about the 1969 rebellion that launched the modern gay liberation movement, is so bad it’s almost baffling. It seems beyond comprehension that people could take such an electric piece of history and make something this dull, miscast, misguided, badly written, bloated, schmaltzy and shlocky out of it, but director Roland Emmerich and screenwriter Jon Robin Baitz have managed it.

Almost everything about “Stonewall” is terrible. You watch it alternately cringing and howling; the sparsely attended screening I went to was so rocked with laughter that you would have thought we were seeing the comedy of the year.


“Stonewall” caused a great deal of controversy before anyone had seen it, thanks to a trailer that pushed the real-life heroes of the riot—namely, trans people, drag queens, people of color and women—to the side in favor of a made-up white Midwesterner named Danny (played by Jeremy Irvine). Emmerich and Baitz defended themselves, saying that the trailer wasn’t representative of the whole movie. Emmerich also said explicitly that the focus on Danny was a way to win straight people over–a strange goal if ever there was one, but a goal that underscores the perverse incentives of Hollywood as well as anything could.

Emmerich and Baitz clearly don’t know what kind of movie they’ve made. The representation issues in “Stonewall” are very real, and very glaring—yet another example of the film industry’s insistence on pushing white characters to the forefront of its stories, even if they don’t deserve to be there. It is Danny who throws the brick that launches the riots, Danny whose cry of “gay power” ignites the crowd, Danny who leads his people into battle.

The filmmakers, stuck in a Hollywood bubble, seemed surprised that anyone would have a problem with this. A better rejoinder would have been to make a good movie. But almost every inch of “Stonewall” is wrong.

First, it’s so, so long. You feel every one of its 129 minutes, like painful shards of boredom were breaking your mind apart.

The writing is off-the-charts awful. It’s as though Baitz reached into a bag marked “clichés,” pulled some out at random and pasted them into the script. This is a movie where someone actually says, “Those kids, they’ve got nothing left to lose.” Someone says, “I just want to break things!” about 40 minutes before he goes on to break things. Another character actually declares, “I’m too mad to love anybody right now.”

The movie is shot through strange, grimy filters, as though Emmerich was trying to project some of the seediness of the Village through the lens. It just means that you have to squint a bit to see anything clearly. There are also anachronisms so glaring you wonder how they got through the editing process. In one sequence, Stonewall patrons dance to “I’ll Take You There,” a song that didn’t come out until 1972.

The biggest problem with “Stonewall,” though, is that it’s not actually about Stonewall. Any real attempt to explore the politics behind the rebellion are cast aside in favor of creaky soap opera. For some reason, “Stonewall” thinks that what we really need is lots and lots of Danny, the sensitive Indiana boy who rolls into the Village and proceeds to learn a host of life lessons from the assorted rainbow coalition of queer ruffians whose main job in life is to worry about Danny’s feelings.

We spend what feels like 17 years on Danny’s past in Indiana–his doomed affair with another boy, his awful father’s rejection, his plucky kid sister’s tearful cries as he leaves the small town life behind forever. It’s all so weirdly retro–Emmerich and Baitz have crafted a melodrama as hoary and sudsy as anything made in 1925, let alone 2015. It would all be deliciously kitschy if you didn’t sense that all involved thought they were making a profound masterpiece.
 
me either - maybe I will just write a screen play of my stripper days and introduction to gay clubs

Now that I would pay to see. haha I wouldn't mind hearing another chapter of your story if you ever get around to it again.
 
Here's a fairly recent interview (before the film was even released) where the director of the film tries to explain some of his motivations. I'll warn you that while some of his points are valid in some of the truisms of gay life he wanted to get across, some of his logic in the casting and storylines of the movie seems rather twisted and is certainly baffling to me at least.

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Director Roland Emmerich Discusses “Stonewall” Controversy

“You have to understand one thing: I didn’t make this movie only for gay people,” Emmerich told BuzzFeed News.


posted on Sept. 22, 2015, at 4:48 p.m.

Shannon Keating
Buzzfeed news reporter

I met director Roland Emmerich at the historic Stonewall Inn where, in 1969, a band of queer and trans street hustlers once rioted for justice. More than 40 years later, Emmerich has attempted to immortalize those riots, which are widely considered a watershed moment for the queer liberation movement, in his new film Stonewall – an endeavor that has landed him at the heart of a great big gay controversy.

We sat upstairs in a quiet corner of the bar, midday September sun streaming through the windows behind us. Emmerich wore a blue velvet jacket over a white tee. He looked casually dapper, if slightly tired. He’s been surprised to see the Stonewall backlash, which began long before the film’s release this upcoming Friday. “When [the criticism first] happened it wasn’t about the film, it was about the trailer,” he said. “And I thought, That’s not right.”

The trailer depicts the film’s handsome white protagonist, Danny Winters (Jeremy Irvine), arriving in the West Village on a bus from his Indiana hometown, meeting a colorful gang of queer street femmes and tossing the first brick to incite the Stonewall riots, which would inspire the first Gay Liberation March a year later in New York City. Critics online quickly took issue. From the looks of things, said naysayers, Danny — a fictional character inserted into a historical event of monumental significance to the LGBT community — was being painted as Stonewall’s hero, rather than the real-life trans women, butch dykes, and drag queens of color many argue were at the forefront of the turmoil that hot summer night.

But Emmerich wasn’t caught completely off guard by the negative reactions. “Some people warned me,” he said, referring to the waves of angry takes under which he’s since found himself. “But I said, ‘Well, you know, so be it.’”

The trailer doesn’t mischaracterize Emmerich’s film: Danny is the centerpiece of Stonewall, a decision Emmerich made, in part, in an effort to attract a wider audience who could connect with him. “You have to understand one thing: I didn’t make this movie only for gay people, I made it also for straight people,” he said. “I kind of found out, in the testing process, that actually, for straight people, [Danny] is a very easy in. Danny’s very straight-acting. He gets mistreated because of that. [Straight audiences] can feel for him.”

Emmerich, who has previously directed blockbuster features like Independence Day, Godzilla, and The Day After Tomorrow, said he wanted to educate young people about the riots. He felt the best approach would be a personal one. “When do we see a personal film from you?” Emmerich said his friends kept asking him before he took on the Stonewall project. It’s partly because of the personal element imbued in the film, Emmerich said, that has led to some of the protests surrounding his approach. “As a director you have to put yourself in your movies, and I’m white and gay,” he said.

He added that he was inspired to tell this story when he met a young man at the Los Angeles LGBT Center who told him about growing up in the rural heartland of the United States. Emmerich himself grew up in the German countryside, and he felt compelled to shed light on the harrowing statistic that 40% of homeless youths in the U.S. identify as LGBT by focusing on small-town familial rejection. Danny, whose father is also his football coach, gets kicked out of his home when he’s caught fooling around with the quarterback, forcing him to flee to New York. (Since homelessness and harassment disproportionately impact LGBT youths of color, some of Emmerich’s critics have accused him of whitewashing the social and political climate of Christopher Street in 1969.)

Emmerich sees Stonewall both as a coming-of-age tale and as a story of unrequited love. The film intercuts scenes of present-day Danny in the streets of New York with numerous flashbacks to his recent past. Near the film’s end, Danny returns to Indiana, where he again professes his love to the quarterback who rejected him after claiming he had been unknowingly seduced by Danny while drunk.

With this storyline, Emmerich wanted to impart the truism that some queer people aren’t capable of acting on their queerness. “When a gay person is attracted to somebody, that doesn’t mean that they love somebody,” Emmerich said. “That doesn’t mean that he gets loved back. Even me, all my life, I would love somebody, and that person would be … straight, and he couldn’t love me back. Or he was not as courageous, maybe, as I was, in fulfilling sexual needs. There’s a lot of people who are just afraid of society and how they get ostracized.”

Emmerich sees Danny’s story of struggling with rejection as a gateway to the story of Stonewall. “Danny is like the catalyst,” he said. “[The street hustlers] teach him about survival. Through him, we experience them.”

This lens — experiencing the riots through Danny’s eyes and actions — is one of the primary reasons over 24,000 people have signed a petition, started by trans woman Pat Cordova-Goff, to boycott the film. The petition claims that Stonewall fails to “recognize true s/heroes.” Of the street hustlers populating the film, some are based on historical figures who were present at the time of the riots: Otoja Abit plays Marsha P. Johnson, the black trans leader who later co-founded STAR (Street Transvestite Action Revolutionaries), and Ray, Jonny Beauchamp’s character, is a composite of multiple people, including Latina trans rights activist and Johnson’s fellow STAR co-founder Sylvia Rivera.

Emmerich said that deciding which of the real-life heroes to include involved long, frequent discussions with the film’s screenwriter, Jon Robin Baitz. But Marsha P. Johnson is the only clearly discernible trans character in the film; Emmerich said that in consultation with historians and veterans, he concluded that “there were only a couple of transgender women in the Stonewall ever. They were like a minority.”

Not all Stonewall veterans agree with that assertion. In an interview with Autostraddle, Miss Major Griffin-Gracie, a black trans woman present at the time of the riots, remembers that it was actually cisgender people in the minority that night. “I’m sorry, but the last time I checked, the only gay people I saw hanging around [the Stonewall] were across the street cheering. They were not the ones getting slugged or having stones thrown at them,” she said. “It’s just aggravating. And hurtful! For all the girls who are no longer here who can’t say anything, this movie just acts like they didn’t exist.”

The petition to boycott Stonewall also takes issue with Ray, the most prominent character of color, falling in love with Danny — critics read that particular arc as a White Savior narrative. Emmerich, for his part, thinks that Ray and the other street hustlers benefit from Danny’s presence, even after Danny leaves the Village to begin his Freshmen year at Columbia.

“They learned something from Danny — that you can make it, that you can study, you can maybe have a more regular life,” Emmerich said. “I also don’t have the feeling at the end that they are so much on the streets anymore.”

Source: http://www.buzzfeed.com/shannonkeat...ch-discusses-stonewall-controversy#.cnxaY3X7D
 
I'll be the first to admit that I haven't seen this film. But this interview before the release speaks volumes about the controversy. So Emmerich has put himself (a gay white male) into a movie involving Stonewall that he intended to use to speak to the plight of homeless LGBT youth, their familial rejection, and unrequited love by straight men towards the gay men who've fallen in love with them...or closeted gay men who are too terrified to commit to a gay relationship out of a fear of societal ostracism, and the perseverance and strength of the human spirit to overcome repression and suppresion.

It seems to me that he could have done an excellent movie about all of those issues without ever involving Stonewall or the 1960's. He further says he focus-grouped the casting of Danny and decided that he would attract the most straight viewers. I guess he figured that if he cast a minority 1960's drag queen as the protagonist, that it would turn off straight white audiences. Or perhaps he figured that gay men are so shallow that if he just put some hot white actor in the lead that they would all race to the theaters. Because he didn't stay truer to the historical accuracy of the Stonewall riots...now he has no viewers. So he went through this whole $17 million project never understanding who his core audience would be. And then the national opening weekend brought in a whopping $112,414.

It's very sad. I feel badly for Emmerich and Baitz in a way. But when you take on a movie purportedly with the ambitious task of telling a pivotal moment in history that is legendary and almost mythical to new generations...one expects a docu-drama that is reasonably accurate, educational and entertaining. Otherwise why call the movie "Stonewall!"??
 
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this movie was amazing and so moving!!!!! Highly recommend this is a must see

Really? Okay.

One review I saw said that the movie is not nearly as good as its creators hoped, nor as bad as its critics have made it out to be. It also says that 95% of the people who did actually see it and took the Rotten Tomatoes survey said they really liked it.
 
Hey, Tampa and Mike -

Likewise, I've heard naught that's good, about Stonewall - here's a review I read recently, which says it "fails at every level." http://www.vulture.com/2015/09/movie-review-stonewall-fails-across-the-board.html#

Tampa, to quote my favourite American President, George W. Bush (LOL!!!) - I feel that the director, Mr. Emmerich, has vastly "misunderestimated" both his gay AND straight audiences.

Historical fiction (both in literature and on the screen) is the TRICKIEST of ventures. It requires both a certain fidelity to the facts, so that it rings true with those who either know about, or remember, those facts. . . and ALSO, a very subtle exercise of imagination, to fill in the lives and situations and motivations of characters who are interpolated, into a framework which is familiar to everybody.

(Wolf Hall, the BBC television mini-series based upon the life of Thomas Cromwell, during the reign of Henry VIII, is a particularly fine example of how to do this sort of thing WELL - - - of course, the producers had the infinite advantage, in that instance, of having the great novels - and careful research - of Ms. Hilary Mantel's devising . . . she won the Man Booker Prize, for her novel of the same title.)

Tampa, further to your comment, I think the regrettable thing is that (I believe) straight audiences would have been VERY RECEPTIVE to a more faithful re-telling of the Stonewall story. The audience for serious adult drama is really rebounding, as the population matures - the rapturous reception of Brokeback Mountain was, I think, an early portent of that. . . And, ESPECIALLY with increasing public awareness of the lives and concerns of transgendered people - - - I think audiences would have been gripped by a re-telling of the story, which gave prominence to some of its actual protagonists. . . instead of making up a fake one.

In all of this, I feel sorriest for Jeremy Irvine, who is not only really, really, cute - but, I think, a good actor, as well. I'm sure he did his best with this one, but, I fear, this sortie into gay history has done his career in film no favours.

John Henry, you are absolutely a sweetheart - and I fully understand how it is, that, living in the world we do, to see ANY depiction of gay life or momentous events in gay history, is going to be thought-provoking, and moving. Your response to this movie is, I think, a reflection not so much of the movie's quality, as your sensitivity as a person, John Henry. At any rate, I bet the members here, if they banded together (and I think perhaps this has been assayed, on other threads) could give you a SUPERB list of "must-see" films which relate to gay themes . . . and other great themes, generally!

I don't know - - - I wonder if, perhaps, in coldest February, Tampa, Mike, Johnny, and I (and anyone else who wants to come) should pack up and rent some suites in a nice hotel in Florida, get a big-screen TV, and play some classic movies, for John Henry??? LOL!

"A" XOXOXOXOXOXO

P.S. John Henry, here is a scene from the great Italian film, Cinema Paradiso, winner of the Academy Award for Best Foreign-Language Film at the 62nd Academy Awards. . . . which always makes me cry ;-)))

 
Thank you for a wonderful post Ambi!

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A thousand kisses, Tampa - with all your kindness, as usual, you make my day. But as you well know, if there was anything wonderful about that post, it was not due to me, but to the sublime Ennio Morricone ;-) Because, as Walter Pater said (and I never tire of repeating): "All art constantly aspires to the condition of music."

Love,
"A" XOXOXOXOXOXOXO

P.S. Here is a little reprise, from dear Josh Groban. You know, Tampa, if I could marry anyone other than my stunning brunet Greek-boy, Mr. K.K., I suppose it would be Josh. He's tall; he's dark; he's handsome. He's Jewish AND Episcopalian. And his baritone melts my heart. . . how perfect, is THAT??? LOL! ;-))))

 
The news doesn't get any better commercially for the fate of the movie thus far.


Sep 25–27 $112,834 - 129 theaters Weekend 1
Oct 2–4 $19,692 -82.5% - 46 theaters Weekend 2
Oct 9–11 $2,292 -88.4% - 3 theaters Weekend 3

Total domestic box office receipts after three weeks of release:

$186,354 As of: 10/11/2015

Budget to make the movie: $17 million

Sources: http://www.boxofficemojo.com/movies/?page=weekend&id=stonewall15.htm
http://www.bing.com/search?q=How+mu...&src=IE-TopResult&FORM=IETR02&conversationid=


This may be one of the first feature films with a few big name actors whose movie will go straight to cable and video within a month.
 
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