Kazhes pierakstu burtnīca

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Atkal jau (tas jau sāk šķist mazliet aizdomīgi manas seksuālās orientācijas sakarā) varu veltīt šo ieraksta apskatu Mānim, kas uzskata, ka es pamatā klausos mēslus. Ja Mānis man būtu pateicis, ka "Creed" ir mēsls nevis 2007.gadā, bet, teiksim, 2000.gadā, tad es... nē, es nebūtu Mānim iesitis pa seju, jo nekad neesmu izcēlies ar pārmērīgu atlētismu vai agresivitāti vai drosmi. Bet sašutis gan es noteikti būtu. Kā gan "Creed" var būt mēsls? Viņi taču ir anti-Limp Bizkit, bet Limp Bizkit ir mēsls.

Bunuel once again. This time he`s much more realistic than in the two other pictures by him I`ve seen, and it is not an advantage in my opinion. Somewhere between the two world wars a young woman named Celestine comes from Paris to a small vilage (or something similar to a village) to work as a maid for a half-crazy old man, his money saving daughter who doesn`t like the pain she gets from sex, and her sexually obsessed and still pretty cowardly husband. There also is another central person among the servants - a man named Joseph who participates in stupid nacionalistic stuff and who apparently rapes and kills a little girl. The ending is good for it shows that in real life it`s not the good that gets rewarded, but not the evil as well. Everything just stays the way it`s bound to stay, and no Deus or Satanus from a machine can make everything polar. The film was still no big shakes.

Ar šo albūmu Green Day nu jau pilnīgi atvadījās no sava vecā panku imidža un kļuva par tipiski/netipisku poproka grupu. Salīdzinoši ar "Dookie", kas man pirmajā klausīšanās reizē pie sirds īpaši negāja (jo tolaik par pankiem biju apmēram tādās pat domās kā šobrīd par nacionālboļševikiem), tad par "Warning" neko tamldzīgu teikt nevarētu (lai gan, protams, šo albūmu arī izdzirdēju manāmi vēlāk). Jau pirmā albūma dziesma - "Warning" ir pavisam draudzīga akustiska popdziesma, kurai bija diezgan smieklīgs videoklips. Tomēr arī panciskajās dziesmās Green Day ir sākuši jau izklausīties mazliet pieaugušāki un daudzveidīgāki kā iepriekš, piemēram, "Blood, Sex and Booze" neizklausās pēc trīsdesmit iepriekšējām šīs grupas dziesmām, jo atklājas, ka patiesībā Green Day nav nekādi raupjie puiši, bet ka viņiem ir tīri labas spējas atrast vienkāršas un tomēr klausāmas melodijas. Turklāt arī dziesmu tematika sākusi kļūt interesantāka, manuprāt, ļoti jauka dziesma ir "Church on Sunday", kuru es varu iztēloties kā saundtreku vasaras dienai un kurā Bilijs Džo solās meitenei ar viņu kopā iet svētdien uz baznīcu, ja viņa ar viņu vakarā ies dejot. "Fashion Victim" varētu raksturot kā Green Day versiju par Kinks "She`s bought a hat like princess Marina`s", lai gan, protams, ne melodija, ne teksts līdz Reja Deivisa līmenim šeit nepavelk. Mana mīļākā dziesma šajā albūmā tomēr ir cita - tā ir kabarē stila veidotā "Misery", kuras teksta daļa man savukārt rada asociācijas ar "Take a walk on the wild side" iz Lū Rīda repertuāra. "Hold On" mutes ermoņikas atsauc prātā kaut kādu no "Bītlu" dziesmām, lai gan patiesībā visas šīs dziesmas visvairāk izklausās pēc soļošanas melodijām. Tu saulainā vasaras dienā ej pa ceļu un tavās ausīs skan šis Green Day albūms - ļoti jauka idille. Jā, akustiskās gičas šeit skan vai katrā dziesmā un, manuprāt, tas ir tīri forši, jo savā vecajā stilā nekur tālāk "Green Day" vairs aiziet nevarēja, bet ar "Warning" viņi beidzot ir pacēlušies vismaz pāris pakāpienus augstāk. Labs ir arī albūma nobeigums. Vispirms ar "Minority" Green Day apliecina, ka arī kā poprokeri viņi joprojām vienlaicīgi ir arī panki un ka viņi nevēlas saplūst ar pūli (atkal viena soļojamā dziesma), bet "Macy Day Parade" - kas, manuprāt, jau tuvojas grupas sekojošajam albūmam "American Idiot". Zināmu neizpratni rada "Waiting", kas ir ar citu tekstu apveltīta klasiskā sešdesmito gadu dziesma "Downtown", kāda tam ir doma, man skaidrs nav, bet vispār jāatzīst, ka man ļoti labi iet pie sirds Bilija Džo balss un Tre Kūla bungas. Protams, Green Day nav pasaules labākā grupa un, protams, viņi ir vairāk parodija par pankiem nekā īsti panki, bet toties viņi ir labi songwriters.

Šī bija tā pati filma, kuru iesākām skatīties pagājušo sestdien pie Bū, bet kuru no manis neatkarīgu iemeslu dēļ man nācās "piebeigt" vienatnē.

It`s also entitled `The Enigma of Kaspar Hauser`. It`s a story about a young man who suddenly appears in the middle of a small German town. The young man not only isn`t capable of talking but he has never encountered people before and didn`t even know that there were people beside him. As he gets to know life he encounters many problems but he realises (or it seems to me that way) that other people who have lived longer than he has (for he didn`t live before while he was locked in some cellar) were actually as dead as he was and that they knew nothing but only pretended to exist. It doesn`t give him very much faith in life. The film is quite interesting (except maybe the first 15 minutes during which I fell asleep), it certainly made me want to find some other Werner Herzog films and to get to know about that Hauser person.

"Big Nothing" nav no tām filmām, par kurām runā visur un visi - programmētāji-Unreal tournament cienītāji tavā darbavietā, sievietes ar pundursuņiem spa salonā, Tautas partijas deputāti Saeimā, Kristaps Kaupe kārtējā NSS sanāksmē par tēmu "ebrejpediņi ir kaitīgi mūsu sabiedrībai, likvidēsim tos", pat tantiņas tramvajā nekad viena otrai nejautā: "Vai tu redzēji to melno komēdiju ar Saimonu Pegu un Deividu Švimmeru?"

Grupas Green Day trešais lielās ierakstu kompānijas paspārnē izdotais albūms lielākoties netiek dēvēts par grupas karjeras virsotni, lai arī viens būtisks pluss tam noteikti ir - tajā Green Day pirmo reizi sāk eksperimentēt un spēlēt kaut ko mazliet savādāku nekā savas tradicionālās un praktiski identiskās trīs akordu dziesmas.

Bunuel once again. This time with Catherine Deneuve as the main star. It`s not that typical for me to watch a film where I can`t really stand the main character but still end up liking the film. Severine is a wife of quite a wealthy doctor but despite loving her husband she just has no interest for sex with him. In order to change things she becomes a part-time prostitute and is pretty good at that. She also has a lot of masochistic dreams. Her husband, not knowing the reasons for changes in his wife, is quite happy - for she becomes a much happier person. But one can not lead two lives without harming both of them. What`s to say about it except the plot? Never have I seen a film before with a woman that becomes addicted of being a prostitute. As a matter of fact, it`s a thing I can imagine but can`t understand. To me it`s pretty shocking. On one hand I would rate the film even higher, for it`s quite impressive but on the other hand - I doubt that I would dare to watch it one more time.

If I didn`t know that I wouldn`t believe that this film actually was directed by Steven Spielberg. It`s a silly comedy on an inadequate reaction people of California have after the Japanese have bombed Pearl Harbor. A submarine full of completely stupid Japanese that don`t even have a compass on board tries to attack Hollywood. Meanwhile a captain of the army tries to get laid with a girl who likes airplanes and therefore he must fly a plane despite not being very good at it. Some other dude has learned to dance for `the amateur night` (or something similar to that) but isn`t allowed to participate because he is not in the army (while his girl tries to get away from some stupid military person). A crazy airplane pilot (played by James Belushi) also takes part in the action, this subject here seems to be an influence for `Independence day`. Most of the jokes are quite vulgar and deal with people being hit by different objects. But it`s not that bad, besides it spoofs `Doctor Strangelove` (as it made that much of a difference). Not a standout film by any means, but I have seen a lot worse.