Free Movie The Dirty Relation !LINK!
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free movie The Dirty Relation
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Hollywood movies are basically devoted to achievement. Characters are defined in terms of their ability to do things (anything from freeing the hostages to getting the girl)—frequently by being pitted against each other in tests of wit or prowess. Hollywood understands life as essentially a matter of competition, achievement, and reward. A narrative organized around a series of problems for characters to solve or goals to achieve appeals to American viewers for at least two reasons. First, it makes the story easy to follow. Characters' progress (or failure to progress) can be measured in an almost step-by-step way. Second, it ties in with one of the basic myths of American culture: the faith in the virtues of doing. For someone who subscribes to the ideology of capitalism, this narrative form is fundamentally encouraging. It's a "can-do" vision. Will-power, diligence, pluck, resourcefulness can solve any problem.
Oftentimes the contrasts are not so blatant. Many of the groupings involve characters whose perspectives and attitudes differ quite subtly. The drama of The Kiss of Death, for example, is generated by differences in the sexual attitudes of boys and girls of a certain age in which the various figures' points of view are similar in some respects and different in others: the sexual cluelessness of two boys is compared with the sexual knowingness and seriousness of two girls; the chaste, marriage-mindedness of one of the girls is compared with the moral "looseness" of the other girl; the romantic seriousness and earnestness of one of the boys is compared with the erotic sniggering of the other. Even minor characters briefly factor into the comparison and contrast process: in the same film, for example, the "dirty minded" attitudes towards sexual relations of one boy's boss, and the painfully unromantic relationship of a man and woman he visits in the course of his job contrast with the young people's attitudes.
Contrary to everything our culture tells us (and everything we may want to believe), Leigh argues that experience is not reducible to subjectivity. Consciousness never stands free of its warped, partial, imperfect, shifting expressions. Leigh's characters can't simply "think" or "feel" their goals, purposes, and relationships, but must express them in a thousand practical details. Feelings must be converted to actions. Emotion must be exteriorized by being shared. Leigh's characters are not their thoughts and feelings, but their social interactions, movements, gestures, tones of voice, and facial expressions.
The difference between an idealized and an unidealized presentation of experience is what an American viewer registers as the "rawness" of Leigh's characters or the "roughness" of their interactions. Leigh's characters feel lumpy, their expressions muddy, and their interactions bumpy in comparison with those in Hollywood films because it is almost impossible for practical social expressions and interactions to achieve the purity and clarity of abstract statements of subjectivity and stylistic indications of consciousness. Characters in idealist films can "speak" their thoughts and feelings (in both the verbal and stylistic senses of the term) more clearly and powerfully than Leigh's can, because their "speech" is freed from the compromises, fallibility, and imperfection of speech as it is encountered outside of the movies. In Psycho Hitchcock can lay in a little spooky-dooky music on the sound track, throw a spot on an actor's face, or use expressionistic camera angles to create states of feeling that have an unworldly purity, clarity, and intensity. In Citizen Kane Welles can use short lenses, outsized sets, and shadows to express the title character's mega-lomania and loneliness with a directness and immediacy that the compromised, mediated personal expressions in Leigh's work never attain. The smoothness and completeness of idealist expression is replaced in Leigh's work by the halting, rough particularity and imperfection of actual physical and verbal expression.
THE MOST PECULIAR quality of these movies about a warlike situation is that they have the detachment of peaceful times. Dirty War, a simple, literal, strenuously researched scenario of disaster, seems like the chronicle of a horrific event rather than the prediction of one. Its strongest note is ruefulness. It begins with a drill involving firefighters rushing to save lives in the wake of a dirty bomb attack, and then tells the parallel stories of the terrorists' organization of such an assault, the explosion itself, and the attempts to deal with the aftermath while catching the terrorists, who are still at large and planning more attacks. Yet the movie is profoundly low-keyed, and sparing in its central human dramas, among them the poignant portrayal of a fire-department officer and his wife. Its thrust is a documentary-like conscientiousness about the facts, as if it were not a drama at all, but a clarifying supplement to confused, panic-inciting news reports. Dirty War is so intent on depicting techniques of bioterror containment and control, so detailed in its enactment of the terrorists' apprehension or destruction, that it has the soothing effect of making you feel that the worst is over. PBS's rebroadcast of the film scheduled for late February, accompanied by a panel of experts on bioterrorism, will doubtlessly reinforce the feeling that Dirty War represented a real event, now safely past. Given the hysteria that the Bush administration likes to provoke with its politically timed terror alerts, all this reassurance is hardly a complacency. It is something of a public service.
Lust Stories is an Indian, Hindi-language anthology movie comprised of four short films. The stories range from a college professor who has a one-night stand with a student, to a pair engaging in a secret sexual relationship, to a woman having an extramarital affair. The film also sheds light on female exploitation in South Asia, which makes it a powerful watch.