Meetings with a Young Poet

A gifted writer's successful poetic publication emboldens his desire to meet his favourite author, Samuel Beckett (Stephen McHattie), and a letter is sent, a reply is crafted, the two meeting thereafter to see if they can keep collegial compatibility in check, incandescentally enacting a enduring competitive discussion throughout, which gradually foments a spry friendship.

A gifted performing artists seeks the rights to stage one of Beckett's plays, the rights belonging to the poet, hoping to modify an aspect which some consider prescribed, her illuminated life-force agilely advocating.

Their dialogues actively overcome an empty silence whose initial poetic flourish debilitatingly became a literal reality (his love of Beckett prevented him from writing for many years).

Meetings with a Young Poet troubled me.

At points its pretensions made me feel ill while at others I was humbly affected to the teardrop, like reading Mr. Dickens, or a poem lacking rhyme and/or rhythm which still vindicates delicate ethereal reminiscences, simultaneously jealous of Paul Susser's (Vincent Hoss-Desmarais) good fortune and cognizant of why Beckett recommended to run from Proust and Joyce, his obvious love for people and the lighter side of life crushing me like waxed ephemeral wicker, two sides of the haughty intellectualized niche contending, one bound to a forlorn pincushion, the other overflowing with grace.

Carole Thomas's (Maria de Medeiros) role, her constantly revitalized cascading flora, this presence generously transmitted to her subjects of desire, thereby simultaneously transferring to them what they need to reboot while obtaining her sought after intention, infuses the film with a bounding effervescence, every bubble's balance beneficially accrued.

Character driven.

The Grand Budapest Hotel

One of the most well-written/presented films I've seen, Wes Anderson's The Grand Budapest Hotel eclectically and photogenically entices his audiences to cerebrally strap themselves in, inexhaustibly affixing literary liaisons to his rambunctious gentleman's club, scriptual guardrails, amphetamines, and incisors distilled then disseminated, meticulously tidy and neat, lead character and director functioning as one, the details, the details, the details, affluence aplombed, in a duty-bound celestial amazement.

To serve is to rectify.

Young love, friendship, greed devotion admiration jealousy deflection prison-breaks swathed in a flame forsworn to its adversaries.

Retreat.

Contours convened on a swollen strap eased into vertical environed retinal eschews.

Pause.

Consented entrapping pursuant cavalcades.

Mentors and mendicants flossed in the grip.

Critical high-level catered expenditures.

Horizons harassed and danubed.

Treachery, intransigence, vertigo.

Withstanding any attempts to halt its progression, The Grand Budapest Hotel epitomizes g(u)ilded prestige, hostages lacking ransom, taste without snobbery.

Envisioned, exercised, and executed, I hesitate to say, it's my favourite Wes Anderson film yet.

Kaze tachinu (The Wind Rises)

The dreams of a modest principled hard working youth patiently materialize in Hayao Miyazaki's Kaze tachinu (The Wind Rises), an animated account of a brilliant Japanese aeronautical engineer whose poetical mathematics helped remodel Japan's aviation industry.

The frame insulates a wise psychological stratagem for growing and changing during tumultuous times, within Jirȏ Horikoshi's (Joseph Gordon-Levitt) mind, and provides him with the strength to go-with-the-flow as hardships, sicknesses, and political aggressions challenge his strong sense of self.

He grew up in the years leading up to World War II and had to helplessly sit back while his designs were co-opted by the military.

The film doesn't shy away from exploring technological testaments to militaristic miscues.

Horikoshi has to hide for a time as jingoistic agents grow suspicious of his activities.

This aspect of the film fades without receiving enough attention.

I'm supposing the pre-war years were quite oppressive as indicated by Horikoshi's attempts to converse with less fortunate citizens who are frightened by his humble offering of sponge cake.

Research and development processes and workplace pastimes are a recurring feature as his dreams become a reality through the application of diligent trials and errors.

Love fills-out the creative cure, as a respectful romance energizes his designs.

Kaze tachinu offers innocent industrious insights into a dedicated upright life of work and study whose successes and failures are stoically articulated.

Romance, rewards and retinues refine his tragic pursuit of innovation, his revered reveries, seek, search, discover; apply; install.