PELÍCULAS Y SERIES EN INGLÉS (B1 y B2)

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1. The Iron Lady
2. Wuthering Heights part 1/2
3. Wuthering Heights part 2/2
4. A room with a view
5. Memoirs of a Geisha
6. David Copperfield
7. Oliver Twist part 1/2
8. Oliver Twist part 2/2
9. The illusionist
10. The family man
11. The double
12. Play the game
13. City by the sea
14. Levity
15. The American
16. Red line
17. The Joneses
18. Good agent is a bad agent
19. Onassis
20. Love begins
21. To save a life
22. A soldier´s love story
23. A song from the heart
24. ... :)

BEAUTIFUL GIRLS FILM

PLOT SUMMARY: Beautiful Girls is about a group of small-town friends joining up for their first high school reunion. They find themselves evaluating their lives and their relationships. It's about growing up and facing reality.  

 

Pianist Willie Conway returns to his snowy home town to attend a high school reunion and meeting his former friends.  As Willie waits for his NY city girlfriend Tracy to arrive, Willie finds himself having a platonic love with Marty, his 13-year old next-door neighbour and also having a sexual attraction and falling for Andrea, who is also visiting the town.     The video below shows two different parts: The first one focuses on Willie and Marty and some of their most outstanding dialogues.  The second part is devoted to Willie and Andera's intense and precious conversations.  

 
WILLIE AND MARTY

Scene 1:

Once he arrives, he meets up with  his neighbour, a 13-year old girl named Marty (Natalie Portman) where they struck up a friendship as she wonders about the Conway’s sad household.

Scene 2:

Willie befriends Marty as he asks what the kids do nowadays, which isn’t much as she is going out with some boy named Andrew.  Willie feels a bit jealous since he finds himself enchanted by Marty.  

Scene 3:

Willie has an encounter with Marty at a skating rink where Marty tells him that he’s her new boyfriend. Willie likes the idea but is afraid things will change and references Winnie the Pooh about changing as Marty is given time to think about whatever relationship they might have.

MY  FAVOURITE DIALOGUES BETWEEN WILLIE AND MARTY:

Marty: If I'm not mistaken, you've come back here to the house of loneliness and tears, to Daddy Downer and Brother Bummer, to come to some sort of decision about life, a life decision if you will.

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Willie Conway: How old are you?
Marty: Thirteen. But I have an old soul.
 

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Willie Conway: [from a window] Hey.
Marty: Romeo and Juliet, the dyslexic version.

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Willie Conway: I was jealous of a little kid on a bike, because he gets to be her age, and I'm this vile old man. Like that guy, what's-his-name...
Michael 'Mo' Morris: Roman Polanski? 

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Willie Conway: What are you doing?
Marty: Another exciting Saturday night.
Willie Conway: You got many exciting Saturday nights in your future.
Marty: Yeah, yeah. So your lady's here, huh?
Willie Conway: Yeah, yeah.
Marty: I saw her. She- she's really pretty.
Willie Conway: She's OK. She's not as pretty as you, though.
Marty: Kinda got that boob-thing going for her .

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Marty: So, gonna marry that girl in New York City?
Willie: I don’t know, why?
Marty: I don’t think you should.
Willie: How come?
Marty: You should wait ’til you’re ready. You should wait ’til you meet someone who excites you.
Willie: Yeah, well you know she may not be out there.
Marty: It’s like the Wizard of Oz, William. The whole time it was right in your own backyard.
Willie: What do you mean?
Marty: You. Me and you.
Willie: Really?
Marty: Yep. You don’t think?
Willie: Well, we have a little age problem.
Marty: I know. We’re as star-crossed as Romeo and Juliet. It’s a tragedy of Elizabethan proportions.
Marty: If your feelings for me are true…you’ll wait.
Willie: Wait?
Marty: Yep. Wait five years. I’ll be 18, we can walk through this world together.
Willie: You know in five years, you won’t even remember me.
Marty: William.
Willie: I’m formed and you’re not and you still have changes to go through. You’ll change, then I’ll be Winnie the Pooh to your Christopher Robin.
Marty: No literary references left uncertain. How do you figure, Pooh?
Willie: Well, Christopher Robin outgrew Pooh. That’s how it ended, he had Pooh as a child and as he matured, he didn’t need him anymore.

BEST QUOTES: WILLIE CONWAY AND ANDERA

Andera: So why the sad face?
Willie: Job requirement. Happy piano players work the circus.

__________________

Willie: You know how it is, the beginnings? When you first fall in love and you can’t eat, you can’t sleep and getting a call from her, it makes your day. It’s like seeing a shooting star.
Andrea: It’s the best.
Willie: Yeah, but, inevitably it goes away. It quiets down. So, this is my thing see, why get married now? Why not have two, three more of those beginning things before I, you know, settle into the big fade?
Andera: The big fade, that’s an awful way to put it.

_____________

Willie Conway: I look at you and I think it's amazing that there's a guy out there gets to do all kinds of things with you. He gets to make you happy and spend evenings with you...  
Andera: ...make me martinis, listen to Van Morrison...
Willie Conway: ...smell your skin...
Andera: ...after a day at the beach.
Willie Conway: Yeah, and read the papers...
Andera: ...on a Sunday morning...
Willie Conway: ...a rainy Sunday morning, and pepper your belly with baby kisses... Sorry.
Andera: The thing is, there's a guy out there thinks the same thing about Tracy and he's jealous of you because you get to do all that with her. 
Willie: Let me ask you something; can you think of anything better than making love to an attractive stranger... with just an oil light to guide your way? Can you think of anything better?
Andera: Going back to Chicago. Ice cold martini. Van Morrison.
Willie Conway: Sunday papers. Got ya.

MUSIC

The music in the film is also worth noting since it’s soundtrack is very diverse with old-school classics from Neil Diamond, the Rolling Stones, Kiss, Jethro Tull, and Billy Paul to more modern stuff from Afghan Whigs, Pete Drodge, Split Enz, Ween, Morphine, and Chris Issak.

THE BRIDGES OF MADISON COUNTRY (Los puentes de Madison)

The Bridges of Madison County allows you to reflect on your own life, without becoming sentimental.  The film is not about love and not about sex, but about an idea. The film opens with the information that two people once met and fell in love, but decided not to spend the rest of their lives together. The implication is: If they had acted on their desire, they would not have deserved such a love.
A wonderful, if not quite perfect, film. 

The emotional peak of the movie is the renunciation, when Francesca does not open the door of her husband's truck and run to Robert. This moment, and not the moment when the characters first kiss, or make love, is the film's passionate climax.

MEMORABLE QUOTES

Francesca: And in that moment, everything I knew to be true about myself up until then was gone. I was acting like another woman, yet I was more myself than ever before. 

 

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Robert Kincaid: This kind of certainty comes but once in a lifetime.

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Francesa: I was just going to have some iced tea and split the atom, but that can wait.

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Robert: If you want me to stop, tell me now.
Francesca: No one's asking you to.

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Francesca: Robert, please. You don't understand, no-one does. When a woman makes the choice to marry, to have children; in one way her life begins but in another way it stops. You build a life of details. You become a mother, a wife and you stop and stay steady so that your children can move. And when they leave they take your life of details with them. And then you're expected move again only you don't remember what moves you because no-one has asked in so long. Not even yourself. You never in your life think that love like this can happen to you.
Robert Kincaid: But now that you have it...
Francesca: I want to keep it forever. I want to love you the way I do now the rest of my life. Don't you understand... we'll lose it if we leave. I can't make an entire life disappear to start a new one. All I can do is try to hold onto to both. Help me. Help me not lose loving you.

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Robert: The old dreams were good dreams; they didn't work out, but glad I had them.

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Robert Kincaid: I don't want to need you, 'cause I can't have you.

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Robert Kincaid: Don't kid yourself, Francesca: you are anything but a simple woman.

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Robert: When I think of why I make pictures, the reason that I can come up with just seems that I've been making my way here. It seems right now that all I've ever done in my life is making my way here to you.

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Francesca: So, do you want more eggs or should we just fuck on the linoleum one last time?

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Francesca: I realized love won't obey our expectations, it's mystery is pure and absolute.

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Robert Kincaid: Things change. They always do, it's one of the things of nature. Most people are afraid of change, but if you look at it as something you can always count on, then it can be a comfort.

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Francesca: They came home. And with them, my life of details.

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Francesca: I had thoughts about him I hardly knew what to do with, and he read every one. Whatever I wanted, he gave himself up to, and in that moment everything I knew to be true about myself was gone. I was acting like another woman, yet I was more myself than ever before.

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Francesca: But love won't obey our expectations. Its mystery is pure and absolute. What Robert and I had, could not continue if we were together. What Richard and I shared would vanish if we were apart. But how I wanted to share this. How would our lives have changed if I had? Could anyone else have seen the beauty of it?

HANOVER STREET (LA CALLE DEL ADIÓS)

Synopsis: Margaret is a nursein England during WW2, and married to a secret agent. Things get complicated when she falls for David, an American pilot. Margaret is a nursein England during WW2, and married to a secret agent. Things get complicated when she falls for David, an American pilot

A summary:

 Memorable quotes:

1. I don’t know what I’m doing here. 2. Yes you do.

1. I’d say you missed your bus.

2. I don’t own a bus. 

1. I’ll buy ya one.

2. ooh how nice, a rich Yank.

Margaret's husbund: 1. Tell my wife I died a heroic man. 

Margaret's lover (David) 2. Tell her–yourself!

David to Margaret: Even in my arms, you won’t tell me your name?

I bet your name is something like, Frank, and you’re embarrassed. Hey Frank…I think I love you.

David to Margaret: 

I just wish your eyes weren’t that color.

I love you enough to let you go, which is more than I’ve ever felt about anyone in my life.

Margaret to David: I wish I didn’t cry all the damn time.

David:Think of me when you drink tea.

Margaret: Why do I cry all the damn time?

David to Margaret: You’ve got to go to him, and I’ve got to turn and walk away.

 Spanish version:

El teniente David Halloran, piloto de bombardeos, y una bella enfermera británica se enamoran, a pesar de que ella está casada. Pero es que, además, el marido (agente secreto británico) debe acompañar al amante (David Halloran, piloto americano) en una peligrosa misión secreta durante la cual su avión es abatido.

Johnny Guitar western film

Johnny Guitar is a film  unlike any other you are likely to encounter. On the surface it is a   Western --- beneath that surface are many layers.  

My favourite quotes are:

Johnny: Lie to me, tell me you've waited all these years.

Vienna (deadpan): All these years I've waited.

Johnny: Tell me you would have died if I hadn't come back.

Vienna (deadpan): I'd have died if you hadn't come back.

Johnny: Tell me you still love me like I love you.

Vienna (deadpan): I still love you like you love me.

Johnny: Thanks.

PLOT: The story opens somewhere in the Wild West, set in the late 1800s. Vienna (Joan Crawford) owns the saloon and gambling parlor just outside of town. Johnny Guitar (Sterling Hayden) arrives supposedly to start working for Vienna. The  trouble begins when a stagecoach is held up and one of  the casualties is the town banker. Emma Small (Mercedes McCambridge) is the sister of the victim; besides being angry, she appears to be sexually frustrated as well.

Emma keeps company with John McIvers (Ward Bond). Besides owning most of  the land and controlling commerce in the town, together they intimidate almost everyone else --- except Vienna of course. She is independent, runs her own business, and has much bigger plans as soon as the railroad comes. Just the idea of the railroad and the new people it will carry west sets off Emma and McIvers.

Emma and McIvers are convinced that the "Dancin' Kid" (Scott Brady) and his bunch held up the stagecoach and that Vienna is mixed up in it as well. Emma, it seems, also has repressed feelings for the Dancin' Kid, so she is constantly at odds with herself. McIvers takes it upon himself to declare a new law ---"Vienna's" must close and the gang must leave town in 24 hours.

A lot happens in that next 24 hours; it seems Vienna and Johnny have a past together and are not yet finished with each other. The gang has to decide if they should leave town or defy the law. Emma seems to get everyone in her posse to hate Vienna, the Dancin' Kid, and anyone else who represents change in their town.

 Today, 60 years later, the movie is now considered a  masterpiece.   It is full of sexual symbolism and political references (presumably the McCarthy Witch hunts) that poses many questions--- 


Memorable Lines
I've never seen a woman who was more a man; she thinks like one, acts like one and sometimes makes me feel like I'm not.  Sam describing his employer Vienna.
You want The Kid and you're so ashamed of it, you want him dead. You want me dead, too, then maybe you can sleep nights.  Vienna  to Emma.
Look at her standing there staring down at us like she's a somebody.  Emma to Vienna.
You're nothing but a railroad tramp, not fit enough to live among decent people. Emma to Vienna.
I intend to be buried here. In the 20th century.  Vienna to Emma and the posse.
Down there I sell whiskey and cards. All you can buy up here is a bullet in the head---now which do you want?  Vienna to the posse.
When you boil it all down, what does a man really need? Just a smoke and a cup of coffee. Johnny to the posse.
When a man can't hold onto a glass he should drink like a baby from a bottle. Open your mouth, Guitar Man, I'll feed you.  Ernest Borgnine's character to Johnny.
Five years ago I met you in a saloon, now I find you in one.  Johnny to Vienna.
I'm not ashamed of how I've got what I have. The important thing is I've got it.  Vienna to Johnny.
A man can lie, steal, and even kill, but just as long as he can hold onto his pride he's still a man. All a woman has to do is slip once and she's a tramp. Must be a great comfort to you to be a man. Vienna to Johnny.
Lie to me, tell me all those years you've waited.  Johnny to Vienna.
He makes her feel like a woman and that frightens her. Vienna to Johnny, describing Emma's feelings for The Kid.
A posse is an animal, moves like one, thinks like one. Johnny to Vienna.
You're acting like she's some fine lady and doing nothing makes you fine gentlemen --- well, she ain't and you're not.   Emma to the posse, describing Vienna.
Boys who play with guns have to be ready to die like men.  Vienna  to John Carradine's and Ben Cooper's characters.
I'm sitting here in my own house, minding my own business, and playing my own piano--- I don't think you can make a crime out of that.  Vienna to the posse.
Nice fella. You've finally got someone to do your shooting for you. That ought to make you real happy.  The Kid to Vienna.
We've both done a lot of living; our problem now is how to do a little more. Vienna to Johnny.    

PEGGY LEE

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