Wednesday, November 30, 2011

A Texas Thanksgiving

We spent Thanksgiving in Texas visiting my sister and her wonderful family. It was a long 12 hour ride but went by pretty quickly when you have a back seat set up like this (and do not have to drive).
Once we got there we were greeted with a delicious meal to celebrate Thanksgiving! Probably the best turkey ever...
Along with lots and lots of sides...
And lots and lots of yummy wine....
The next day was filled with Black Friday shopping. No time for busy scoring awesome deals:) We recovered on Saturday with football and more food...
Tal was the lone Alabamer fan. War Eagle!!
It was a great mini-vacay but we couldn't wait to get back and rescue this little pooch from puppy prison (aka the kennel). She was exhausted from her adventure....  
I hope every one's Thanksgiving was filled with lots of food and fun!

Sunday, November 27, 2011

Random Mio Facts

1. I'm 5'6" tall
2. I have Hazel eyes which tend to switch between vivid green to squirrel shit brown
3. I have a brother who is a Radio 1 DJ and a sister who has 2 beautiful kids (Isobel + Adam)
4. I'm a qualified First Aider and in Food Hygiene 8D
5. My favourite colours are : Black, White, Pink, Red and Turquoise
6. My obsession with Hello Kitty borders unhealthy
7. I have a scar on my tonsil where I ripped it open as a kid
8. My natural hair colour is dark brown
9. I haven't been my natural colour in over 8 years
10. My childhood toy is called Dolly and she still sleeps with me in bed :3 i loves her!
11. I used to play drums in a band
12. I listen to more 80's music than modern music
13. The first gig I went to was Cradle of Filth, bare goff man!
14. I'd give anything to see Suede and Adam Ant live!
15. I've had over 50 piercings
16. My lucky number is 7
17. I love having my feet rubbed and my back scratched, only by Josh of course!
18. I only eat Chicken and Fish, I've always hated the taste of beef, pork and lamb. The only exception is bacon, but it has to be super crispy!
19. I lovelovelove pizza, spaghetti and pasta nomnom
20. Bellybuttons make me feel sick, i cant touch my own!
21. The dip in my back makes me feel ill as well ;3;
22. I miss Josh a lot right now :(

Random fact of the day 1

I have 'Watching - Thompson Twins' playing in my
head whenever I cross the road!
"Look left, right! Left, right! Left, right!"
Road sense and an awesome yet underated 80's tune at the same time :3

Friday, November 25, 2011

Yale University, 12/2-12/3: "Remnants of Utopia: European Film, ca. 1975"

Friday, December 2

12:30 PM Daguerréotypes (Agnès Varda, 1976) + Women Reply (Agnès Varda, 1975)
-Introduction by Charles Musser
2:30 PM Riddles of the Sphinx (Laura Mulvey and Peter Wollen, 1977)
-Introduction by Katie Trumpener
4:15 PM PANEL: The Status of Feminism
-Featuring Musser, Trumpener and Moira Fradinger
6:30 PM Benilde, or the Virgin Mother (Manoel de Oliveira, 1975)
-Introduction by K. David Jackson
8:45 PM Cría cuervos… (Carlos Saura, 1976)
-Introduction by Michael J. Anderson

Saturday, December 3

9:00 AM Bonus 1975-era screening on 16mm
12:15 PM Winstanley (Kevin Brownlow and Andrew Mollo, 1975)
-Introduction by Michael Cramer
2:00 PM PANEL: The Status of Utopianism
-Featuring Cramer, Dudley Andrew and Patrick Reagan
3:15 PM The Mirror (Andrei Tarkovsky, 1975)
-Introduction by John MacKay
5:15 PM PANEL: Andrei Tarkovsky
-Featuring MacKay, Katerina Clark, Mikhail Iampolski
7:30 PM Kings of the Road (Wim Wenders, 1976)
-Introduction by Richard Suchenski

All events will be held in the auditorium of the Whitney Humanities Center, 53 Wall Street, New Haven, and are free and open to the public. Foreign-language screenings will be presented with English subtitles. Print and video formats and running times are listed below.

Friday, December 2nd

Daguerréotypes (Agnès Varda, 1976, France/West Germany, 75 minutes, DVD)

Conceived by the ‘Left Bank’-group auteur as a portrait of her 14th arrondissement Rue Daguerre neighbors, Daguerréotypes captures the quotidian daily routines of a population that Agnès Varda later described as “a sort of silent and conservative majority that expressed the end of a certain France in the 1950s, of the small neighborhood shops where most people worked in pairs.” Daguerréotypes however does manage to inscribe this anachronistic mode of Parisian life in the elderly proprietors of the Blue Thistle perfumery, whom Varda confesses were the initial inspiration for a film that ultimately satisfied her desire to “go through the shop windows of the street, to watch the tradesmen and experience the long periods of waiting as time passes.” In thus fixing foremost on the small-scale, trade and craft labors of her Montparnasse neighbors – when she is not presenting the community as they join together for an itinerant magician’s performance or quizzing her on-camera subjects about their rural, mostly western origins or how they met their respective spouses – Varda pursues an artisanal interest that parallels her own craft-like filmmaking strategies. On the other hand, with regard to Daguerréotypes’ durational interest, as well as in its cartographic emphasis, the concerns of Varda’s documentary feature echo those of her fictional, ‘real-time’ masterpiece, Cleo from 5 to 7 (1962).

Women Reply / Réponse de femmes: Notre corps, notre sexe (Agnès Varda, 1975, France, 8 minutes, DVD)

Commissioned by French television as one of seven seven-minute shorts to be made by female filmmakers after UNESCO declared 1975 “international women’s year,” Agnès Varda takes eight minutes to consider eight subjects related to the larger question of what it means to be a woman. Focusing on the theme “our body, our sex,” Varda presents a series of women, across a spectrum of ages, physical appearances and with and (controversially, given the time of day that it would screen) without clothing, as they all consider the nature of womanhood. Among the more memorable of the filmmaker’s on-screen figures is the nude, “pregnant up to her ears” Catherine, who laughing and swaying insists, “I feel beautiful, full and desirable.” While she adds that she doesn’t “care about society,” in responding to an off-screen male voice that suggests that it is the woman’s responsibility to build the human race, other representatives of her sex disagree, both embracing this role in full in one instance, and denying that motherhood has any bearing on womanhood in another.

Riddles of the Sphinx (Laura Mulvey and Peter Wollen, 1977, United Kingdom, 92 minutes, 16mm)

Divided into seven segments – Opening pages, Laura speaking, Stones, Louise’s story told in thirteen shots, Acrobats, Laura listening, Puzzle ending – Riddles of the Sphinx contemplates the forgotten figure of the Oedipal myth, the feminine Sphinx, who not only represents the unconscious to Oedipus’s conscious mind but also offers a threat and riddle for the patriarchal order. Occurring both at the figurative and literal centers of theorists Laura Mulvey and Peter Wollen’s experimental work, and comprising the overwhelming majority of its ninety-two minutes, are thirteen panoramic sequence-shots narrating Louise’s (Dinah Stabb) crushing domestic life, separation from her husband and consequent struggles, both personally and politically, to function as a working single mother. In each of the distended circling takes, Mulvey and Wollen conceal more than they disclose, resisting, in the image of the former’s scholarship, the urge to linger on or even show the female body fully articulated within the mise-en-scѐne. Riddles of the Sphinx’s panoramic form thus achieves ends that are diametrically opposed to the abundant, immersive environments of equivalent 360º visual strategies; it also destroys the proscenium spaces that the period’s other supremely Mulveyan text, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), continues to utilize. While both films offer radical counter-forms to dominant, patriarchal cinema, therefore, Mulvey and Wollen’s offering represents an even more radical break from the cinema that both films tacitly critique.

Benilde, or the Virgin Mother / Benilde ou a Virgem Mãe (Manoel de Oliveira, 1975, Portugal, 106 minutes, 35mm)

Commonly credited with inaugurating Manoel de Oliveira’s signature theatrical idiom, Benilde, or the Virgin Mother represents the second in the now one hundred-two year-old filmmaker’s “Tetralogy of Frustrated Love.” Interrogating, to quote Oliveira, “the real difference between theater and cinema,” the question of where one starts and the other ends, Benilde opens with what Randal Johnson (in Manoel de Oliveira, 2007) describes as a “rapid, sinuous traveling shot backstage.” With Oliveira’s fluid camera ultimately entering the constructed set wherein the filmmaker’s ‘immaculate conception’ narrative will unfold in a series of three demarcated acts, with each staged entirely within a single room of the same home, Oliveira replaces his earlier overtly ‘cinematic’ strategies with his consequent arch theatricality. Though Benilde would be criticized thereafter for not adequately dealing with the tumultuous political situations under which it was produced and released, the ‘Carnation Revolution’ and the ‘Hot Summer’ respectively, Benilde does inscribe a “thoroughly repressive, moralistic society” very much in keeping with the dictatorship that the former overthrew. Thus, for the director of “Films from the Darkest Hour’s” highlight Aniki Bóbó (1942), Benilde would prove a less explicit Day of Wrath (1943), again in Johnson’s judgment, even as it more directly borrowed from Carl Th. Dreyer’s arguably miraculous Ordet (1955), in balancing the opposing claims of religious faith and materialist skepticism.

Cría cuervos… / Raise Ravens (Carlos Saura, 1976, Spain, 110 minutes, 35mm)

Shot during the summer of 1975 and released a little more than two months after Francesco Franco’s death in November, writer-director Carlos Saura’s Cría cuervos… opens with the death of philandering patriarch and Generalísimo-stand-in Anselmo (Héctor Alterio) as eight year-old daughter Ana (Ana Torrent) listens in from behind his closed bedroom door. Flashing forward twenty years into the future (from the picture’s opening, present-day setting), an adult Ana (Geraldine Chaplin, who also plays the young girl’s late mother) wonders why she wanted to kill her father – something that the eight year-old believed she had succeeded in doing. Ana’s sociopathology accordingly engages the traumatic legacy of Franco’s thirty-six year-regime prophetically, while also fulfilling the Spanish proverb that provides Cría cuervos… with its title: “Raise ravens and they’ll peck out your eyes.” However, perhaps even more than for its felicitous overlap with the death of Franco, producer Elías Querejeta’s de facto sequel to his masterful Spirit of the Beehive (Víctor Erice, 1973) resonates for the authenticity with which Saura depicts his trio of child subjects across a shifting landscape of fantasy and memory. Again it is the focal Torrent – who made her legendary debut in Erice’s film at age six – that proves most memorable, with her guarded, introspective lip-syncing of Jeanette’s “Porque te vas” ranking among the most vivid and tangible articulations of childhood emotion in the history of cinema.

Saturday, December 3rd

Winstanley (Kevin Brownlow and Andrew Mollo, 1975, United Kingdom, 96 minutes, 35mm)

Winstanley, the second of two collaborations between silent film historian Kevin Brownlow (Parade’s Gone By) and military history expert and costume picture consultant Andrew Mollo, scrupulously restages the “Diggers’” struggle to establish an agrarian commune on the public lands of St. George’s Hill in 1649, following the declaration of the Commonwealth earlier that year. Despite relying on a meager ₤17,000 grant bestowed by the British Film Institute and their own limited private resources, Brownlow and Mollo invest their biography of Gerrard Winstanley and his early followers, many of whom were soldiers in Oliver Cromwell’s army, with extraordinary historical authenticity: through Mollo’s connections, the filmmakers managed to lease armor from the Tower of London for an opening set-piece that borrows liberally from Sergei Eisenstein’s Alexander Nevsky (1938); while at the commune, the filmmakers introduce extinct breeds of chicken and swine, which accordingly serves to locate Winstanley in the hyper-realist tradition of Erich von Stroheim. In fostering the impression that the events in their meticulously recreated Commonwealth-era Surrey were unfolding in the present-tense, as Brownlow later described his and his partner’s objective, Winstanley likewise inscribes a historical mode most associated with former collaborator Peter Watkins (Culloden, 1964). Like Watkins, who would later try his hand at a similar French experiment in 2003’s La commune (Paris, 1871), Brownlow and Mollo rely mostly on non-professionals, including school teacher Miles Halliwell as the eponymous lead, and squatters-right advocate Sid Rawle, whose memorable “Ranter” offers a seventeenth century parallel to the latter-day hippie.

The Mirror / Zerkalo (Andrei Tarkovsky, 1975, Soviet Union, 106 minutes, 35mm)

Born the son of the major Russian poet Arseny Tarkovsky outside the small country town of Yuryevets in 1932, Andrei Tarkovsky was left to live with his mother, Maria Ivanova Vishnyakova, after his parents separated at age four. This formative childhood trauma accordingly offers a point of narrative departure for the cinematic master’s essentially autobiographical The Mirror – where Tarkovsky toggles between a childhood past and a contemporary present – and also explains the displacement of the absent Arseny onto the audio track (upon which the latter reads his original poetry). Consistently presented on camera, however, as Tarkovsky further pursues the logic of his childhood recollections, is Andrei-surrogate Aleksei’s mother, played by Margarita Terekhova (who likewise embodies Aleksei’s adult partner Natalya; the male protagonist notes that he always remembers his mother as having his wife’s face). Terekhova’s matriarch indeed provides Tarkovsky’s screen autobiography with its primary – decidedly carnal – corporeal presence, even as the adult Aleksei, like the director’s real-life father, can be heard but never seen. Once again, this confirms The Mirror’s subjectively-oriented focalization, which the director combines with his own analogical and ultimately private poetic idiom – all within a work that in its exceptional confluence of forms (World War II newsreel and historical reconstructions; black-and-white, color and sepia) seeks to be all cinema, every bit as much as it does personal testament. Tarkovsky would rarely exceed his extraordinary ambitions in creating this confessional masterwork.

Kings of the Road / In the Course of Time / Im Lauf der Zeit (Wim Wenders, 1976, West Germany, 175 minutes, 35mm)

Shot, as the opening credits note, in eleven weeks during the second half of 1975, along West Germany’s frontier with the G.D.R., Wim Wenders’ road-movie masterpiece divides its attention between proletarian traveling projector-equipment repair-man Bruno (Rüdiger Vogler) and his bourgeois physician passenger Robert (Hanns Zischler), as they traverse the panoramic landscapes that materialize between Lüneburg in the north and Hof in the south. Wenders and cinematographers Robby Müller and Martin Schäfer dialectically balance stasis and movement in their long-take set-ups, while film editor Peter Przygodda’s dissolves add to the film’s languid rhythm and his occasional, anachronistic application of wipes to Kings of the Road’s focalized motion. Together these strategies comprise the film’s narrative and aesthetic dominant, its emphasis on time – as reflected in its original German title, Im Lauf der Zeit – which finds additional, analogous expression in the work’s predilection for ‘dead-time’ moments. As these segments unfold, Wenders favors wordlessness frequently, which he grounds in the silent film tradition referenced both in the opening prologue and in the pantomime that Bruno and Robert perform behind a backlit cinema screen. As with much of the pre-talkie cinema, Wenders’ film foregrounds music: American pop records prove particularly central within a film that bears this inspiration (Roger Miller’s “King of the Road”) in its North American release title. Of course, the film’s conspicuous Americana also possesses a darker connotation: in the words of one of the travelers, “the Yanks have invaded our subconscious.”

Thursday, November 24, 2011


First - So thankful that we worship such an amazing God. He has blessed Talon and I so much over the past year. To God be the glory!!

Second - These two. Sweet Tal and Tils. They make my world go round:) Third - Such loving parents.Fourth - My big ol' family that always produces a good time.Fifth - Great friends. Especially ones that will dress in awesome tacky Christmas attire.
Happy Thanksgiving!

Katrina Kaif Sexy Wallpapers

Internet is full of Katrina Kaif's sexy wallpapers and photos and always get beautiful and exclusive wallpapers for our readers. Today we have selected 3 super sexy wallpapers of Katrina Kaif from various movies and photoshoots. Recently we have published katrina's closeup photos which were appreciated by lots of our regular readers. Hope you will like these wallpapers too.
Lets start the hunt to Katrina Kaif's most sexy wallpapers of all times.
First sexy wallpaper is from a photoshoot for Slice (a mango drink). Katrina has done many photoshoots but this series is somewhat special for her. When she wear a sexy yellow saree with a bottle in one hand she looks gorgeous the way she handle that small mango drop on her lips. This photoshoot was appreciated by thousands of people, that's why we have chosen this entry as our first sexy wallpaper of Katrina Kaif.
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Katrina is exciting to watch says a survey : There are so many surveys being conducted now a days and few of them are so interesting. In a recent online survey asked their user, what do you like the most to watch on internet. If we filter the results to india and specially for the age of 15-35 years the result is no surprise. Indian youth loves to watch katrina kaif on internet. That is the main reason she is the most searched celebrity in India. Her charm is increasing with every movie she is doing.
So our second choice of Katrina's sexy wallpaper is in a black short western dress. Although this is a little pic and most of you have seen this earlier but we have tried to revive the charm of this lovely pic.
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Katrina looks sexy in any dress : Katrina is a sexy girl and her body is so toned and perfect that she can wear any kind of dress. If we look at the search trends of a famous search engine, people search everything about katrina. Katrina kaif in saree, katrin kaif in western dresses, katrina kaif in patiyala suit. etc. Its interesting to note that boys are searching for katrina kaif images, sexy wallpapers, hot photos etc and girls are exploring Katrina kaif's dresses like saree, short dress, suit salwar etc.
Third and last choice of Katrina Kaif's sexy wallpaper compilation. This wallpapers has everything. It is beautiful, seductive, sober, eye catchy, perfect figure, beautiful dress. What else you need in a wallpaper. Katrina at her best.
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Tuesday, November 22, 2011

Christmas Bling.

I know that yesterday I said I was ready to move on to Thanksgiving. Ya know, since it is the closer holiday and all? But one more thing before that. Our office...all decked out with Christmas bling....I bought this star last year at Lowe's after Christmas for pennies. I've made a promise to myself to only buy Christmas decor in the weeks after Christmas. It's ridiculously inexpensive then.Lots of silver tidings for this one little tree...Including disco balls...every tree needs a disco ball.And a bowl full of bling for the other side to even all that blingeness out.
Now seriously....on to Thanksgiving:)

Monday, November 21, 2011

Aishwarya Rai with a Baby

Aishwarya Rai Baby

Around The House...Christmas Decor Favorites.

We got all of the Christmas decorating done over the weekend. Here are few of my favorite Christmas decor shots. Starting with our owl adorned with Christmas ornaments....Tillie's tiny stocking....Christmas dishware. I love this so much. It's so fun and festive...A tiny tree in a clam shaped bowl to festify our hallway....A beautifully monogrammed tree skirt to lay all of those presents on...
Though we are definitely in the Christmas spirit at the Woods home...we're taking a time out this week to give thanks for all that God has bless us with! Happy Thanksgiving week everyone!

Beautiful and Lovely Pics - New Arrivals

Most beautiful, gorgeous, admirable and charming actress in bollywood is Katrina Kaif without any doubt. She is not just beautiful but her photoshoots are so sexy which defines a different Katrina all together.
Beautiful wallpapers of katrina kaif is widely available but here you will find the best of those beautiful wallpapers.

This post is dedicated to Katrina's beauty and cuteness. We will try to explore the beauty of Katrina Kaif and why she was awarded the sexiest women of the world awards. Today Katrina and beauty have became synonym to each other.
In this post we are getting some beautiful and cute pics of Katrina kaif. These pics are designed like a wallpaper so you can download and set them to your desktop. All wallpapers on this blog are Free and can be distributed without editing anything.
Lets start exploring Katrina's Beauty. Our first choice is this beautiful pic from filmfare awards. She is wearing a nice white short top and heavy makeup. She is looking gorgeous and lovely in this wallpaper.
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Katrina in mango flavor : Who can forgot the famous brand slice. Whenever we go outside we prefer having slice and not a soft drink like coke or pepsi. There are other mango drinks in the market and maaza is the oldest brand in this field. Maaza had a big market but since when Katrina started promoting Slice, maaza's market started disappearing.
It wont be wrong if we say that this beautiful actress can sell anything in todays market.
That is why slice wallpaper of Katrina Kaif is our second choice.
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Katrina is a Barbie Doll : Few months back barbie doll company was looking for a fresh face to promote their dolls in India. They were ready to pay any cost because barbie is a big brand and can manage to hire any bollywood actress. They were considering Aishwarys Rai to advertise barbie but after a market survey they dropped Aishwarya and signed Katrina Kaif. That was a big shock for aish, a new actress was decreasing her market.
But when Katrina came out as barbie, she was looking mind blowing in that beautiful pink frock. Thats why this is our final choice of this beautiful and lovely wallpaper collection of katrina kaif. Katrina kaif is truly a lovely and beautiful barbie doll.
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Saturday, November 19, 2011

Broken people are dangerous because they know they can survive.....

Wednesday, November 16, 2011

Katrina Kaif Hot Kissing Photos

For many bollywood actresses kissing onscreen is a big issue and sometimes they say no to a movie just because that demand lip locks. Some directors says it should not a big deal for a professional actress. Sometimes a script demands such intimate scenes and they can't compromise just because an actress is not ready to do that.
Earlier Katrina Kaif was not ready for an onscreen kiss but as time passed she might have realized that such commitments is not good for her career. She might not get good films just because she is not ready for lip locks. Whatever her mind said to her, she finally agreed for some seductive hot lip locks.

Katrina's first onscreen kiss is from movie boom : I am talking about the kiss and not a lip lock. Boom movie was her debut flop. Very bold role, but with no script at all. In her very short role she tried to impress everyone but she failed because no one noticed her in that movie. The reason could be there were so many models and Katrina kaif was one of them.
Whether good or bad but boom was Katrina first film and she was kissed by Gulshan Grover. What a lucky man :)

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Katrina Kaif Kissing Rumors : There were few movies who tried to cash out Katrina kiss but those kisses were not real. They were filmed liked that. I don't remember the movie name but that was a flop too just like boom. After that one more movie came in which John Abraham and Katrina were filmed liked that. Even that was a flop films. From these few instances we can conclude one thing. Kisses can't help a movie hit specially when actress is not famous. These kisses were Katrina's flop kisses.

Time For Some Real Kissing : After a strong commitment and many fake kisses Katrina finally agreed for onscreen lip lock. In a recent movie with Hrithik Roshan she gave a hot seductive kiss. Zindagi Na milegi Dobara will be remembered always because of Katrina Kaif's first real onscreen kiss. Hrithik became lucky again after kissing Aishwarya in Dhoom 2.
Apart kissing, katrina has transformed herself a lot. She is speaking hindi very well, she is doing sexy item songs; Chikni Chameli and Sheila ki Jawani will be remembered always, she is acting well too. What more can we expect form an actress.
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Monday, November 14, 2011

New Film: J. Edgar

Clint Eastwood's J. Edgar (2011), from a screenplay by Dustin Lance Black, commendably - and very unexpectedly - manages to marry the director's career-defining, post-Dirty Harry (1971) project of self-revisionism with Black's sensitive and accessible biographic work in Milk (2008). In so doing, the supreme and most supremely American film artist of the post-classical era has produced his finest historical work in some time, while once again reviving the core of his interests that last found noteworthy expression in 2008's presumed final testament, the extraordinary Gran Torino. With J. Edgar, Eastwood and Black again show the flexibility of the director's extra-legal formula, with the object of the implied auto-critique becoming the inventor of the modern F.B.I., whose abuses of civil liberties and general unconcern with due process find complicit agents in the legislative and executive branches. While it is not immediately clear whether the right-wing Eastwood, ever interested in the politics of his moment, means any specific criticism of the Obama administration - his publicly articulated concerns with the size and scope of the federal government, and particularly of its capacity to spend, are broadly applicable to most recent administrations - his more socially liberal Libertarian affiliation explains his interest in Black's narrative, whether it is the social liberties again that fall victim to the aggressively anti-Red J. Edgar Hoover (Leonardo DiCaprio) or the same-sex romance that provides the film with its understated romantic center.

Much of the strength of J. Edgar resides in DiCaprio's charismatic turn as Hoover, from his professional breakout in the immediate aftermath of the Bolshevik revolution to his backroom clashes with Richard M. Nixon more than five decades later. While Eastwood and Black retain the epic scope of Martin Scorsese's previous historical and biographic pairings with DiCaprio in Gangs of New York (2002) and The Aviator (2004), therefore, Eastwood's latest 137-minutes pass with characteristic brio (he has long been one of Hollywood's best visual storytellers), freeing DiCaprio not only of the bloat of these previous outings, but in the case of the former film, from Daniel Day Lewis's scenery-devouring shadow as well. Instead, J. Edgar, in the shared estimation of Lisa K. Broad, marks Eastwood at his most Fincherian - over the past half-decade, David Fincher has proven himself to be Eastwood's narrational heir-apparent - with Zodiac's (2007) procedural, due-process emphasis, The Curious Case of Benjamin Button's (2008) physical transformations and thematic emphasis on romantic longing and The Social Network's (2010) testimonial structure, not to mention the presence of Armie Hammer, all bringing the younger director's work to mind. With the latter providing the other half of Eastwood's typically restrained love story, the filmmaker once again finds himself in the impossible romantic territory, as R. Emmet Sweeney has observed, of the director's great The Bridges of Madison County (1995).

Eastwood sensitively captures their love (not only eros, but also philia) through a series of glances and intimate gestures that focalize their minor-key relationship. Eastwood's piano scoring echoes this strategy, as does Tom Stern's de-saturated, low-key, wintery mise-en-scène - Stern's work comes quite close to black-and-white on a large number of occasions. However, it should be added that J. Edgar is not a work that lacks in humor, as Hoover's push-ups to prepare for the strapping Hammer's interview and his showboating amid the Library of Congress's card catalogs, on a first date with Naomi Watt's Helen Gandy, both attest. Indeed, there is a charm that ultimately elevates Eastwood and Black's treatment of a historical figure who is more often characterized as charmless, a humanity that finds expression not only in his life-long same sex relationship, but also in his fraught interactions with his demanding mother (Judi Dench) and in his exchanges with his no less loyal secretary, the aforementioned Miss Gandy. In this sense, Eastwood and Black round out their portrait of a man whose cruelty and callous self-regard - he consistently re-writes the legend, taking credit which is far from deserved - remain the dominants.