Anna S. (eliade) wrote,
Anna S.

here in my living room... my space for obsessive thoughts.

Went to get groceries, still thinking about X/S and Searing Love and Stormy Hearts and other things that would make good bodice-ripper titles, but which I'm thinking about as a certain emotional level and tone, hovering somewhere south of melodrama and soap opera but up in the gilded clouds even so. When I think of stuff like this I always think of Jackon's S/X story, Sweet Revenge, which has an emotional high point where the guys work themselves up into a messy, frustrated fury and have sex in a thunderstorm. I need to reread that. Without getting into a story-ranking game, I'm just saying: not a lot of stories work up to that sort of whammy. It's like the author has vigorously shaken up a bottle of beer and then twists the cap off--fwwoashhhhhhh. And I don't get this: in all my head-based fantasies, I achieve that sort of intensity *constantly*, but in my writing, almost never. So bemusing.

But I don't think of myself as an angstophile. I think of myself as having a schmoop orientation. I like happy endings and nuzzling. I just think it takes a lot of work to get there. Work which involves guys thrashing each other and snarking and having bitter misunderstandings and pushing through the dislike until they break on through to the other side and eventually wind up wearing each other's clothes and finishing each other's sentences.

"Kate & Leopold" is on cable. Meg Ryan's character really is cranky in this movie. It's a weird movie. I like it quite a lot, in some parts more than others. It's rather muddled, but it's muddleheadedness is more interesting than the slickness of other movies. It has Liev Schreiber *and* Hugh Jackman, and this guy named Breckin Meyer: Stuart, Leopold, and Charlie. And it's your average hetero Hollywood happy story, but it gets distracted by other interests. So, get this: Stuart goes back in time and is delightedly snapping shots of nineteenth-century society with his mini camera. He takes pictures of Leopold at a ceremony. Leopold notices him, approaches; Stuart runs away coyly, then turns up later at a ball. Leopold sees him *again* and gives chase--horseback ride, crashing storm, the scaling of a tower, some daring rescue action, and they fall together back through a time portal. Stuart drags the unconscious Leopold home and does a hurt/comfort clucky thing over him, tucking him into a blanket, etc, which his ex-girlfriend witnesses and mistakes for a liaison. Next morning Stuart and Leopold have some by-play (not bi-play, sadly), then Stuart goes off and falls down an elevator shaft. (This movie was written by someone with ADD.) So Leopold hangs around the apartment, figures out how modern appliances work, watches the dog, and then this little kid comes in, a kid that Stuart usually looks after on Wednesdays or something, and Leopold entertains him by telling the story of the Pirates of Penzance--and as he *does*, Charlie hears him and comes downstairs by the fire escape and watches, unnoticed, with this big awed grin on his face--he's *captivated* by Leopold. He spends the rest of the movie following him around like a puppy and trying to emulate him, even though he does go all goofy over a girl, blah blah.

Basically, here's the thing: in your average chick flick, you rarely get so many scenes where the male characters are alone together and bonding with *each other* in a way that has *nothing to do* with the romantic plotline.

I am full of self-distraction tonight, to no end. The end.

Also, GIP. By kjv31.

Also, did I mention this movie has Bradley Whitford? Yeah.

ETA: Where IS everyone tonight?
  • Post a new comment


    default userpic

    Your reply will be screened

    Your IP address will be recorded 

    When you submit the form an invisible reCAPTCHA check will be performed.
    You must follow the Privacy Policy and Google Terms of use.