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Comments 16

stagbeetle March 21 2012, 20:19:48 UTC
I didn't know Harry Lime was the only makeup-free Welles role! And oh, boy, was he charismatic. We see that cat's point.

And ahhh, Utopia. That episode is just wildly exciting. As you describe, there's so much going on, and every single bit of it adds to the momentum.

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selenak March 22 2012, 05:31:13 UTC
Utopia sends my heart pounding every time. To Murray Gold's tune. :)

I'm with the cat, no question.:)

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local_max March 21 2012, 20:51:04 UTC
Agreed with the first four, and I haven't seem the fifth. But really, I would have gone with the Tramp and the flower girl. :)

I also didn't know that about Orson's non-makeup. The fact that Orson Welles and Joseph Cotton are such familiar faces together -- it's hard not to think of Charly and Jedediah, at least a little -- adds a nice metatextual level to the whole scene(s) at the end.

I'm trying to think what I'd add. Rick & Ilsa at "I thought I told you never to play --!" is obvious, but hard to resist. Angel and Darla in the convent in Dear Boy. Also, there's a series of reunions throughout Kill Bill....

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selenak March 22 2012, 05:41:50 UTC
It was touch and go between Chaplin scenes, but what can I say: the kid beat the girl.

Re: makeup: yes, really. I think this was because of a variety of factors. Remember, he was sixteen when he had his stage debut, playing a 50 something old lecher. He played roles he was too young for for years, and he got used to it, plus it appealed to the playful part of him, and then Orson always loved the theatre of magic as well as the magic of the theatre. And he had, like Buffy, an inferiority complex wrapped around his superiority complex, and while he was vain about several things, his looks weren't one of them long before he put on all that weight. (He once memorably described himself as having the face of a depraved baby.) But in the case of The Third Man, it was just an opportunity to make some quick cash to film some more of Othello and see Joe again, so he did it in a hurry. (The end of the Ferris Wheel scene being famously adlibbed on the spot ( ... )

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airie_fairy March 21 2012, 21:29:04 UTC
The reunion between the speaker and Isis in the second-to-last verse of this. The loaded, philosophically Bergman-esque simplicity of it. I will rip that off in my own dialogue someday...SOMEDAY.

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airie_fairy March 21 2012, 21:32:23 UTC
...granted, that's a weirdly yelly live version, which changes the effect somewhat, but the words are the same.

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selenak March 22 2012, 05:42:24 UTC
Alas, I can't watch it at all in my region. GEMA strikes again!

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airie_fairy March 22 2012, 14:56:24 UTC
Well, shit. I'll just have to link you the lyrics: Isis

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andraste_oz March 21 2012, 21:41:57 UTC
Oh, man, I still remember the chills I got at 'Utopia', and the look in Derek Jacobi's eyes as he changed. I was unspoiled, and it was worth it. Apparently I was making incoherent noises of excitement and flapping my hands around.

Blake's 7: I was just a kid and it was one of the most shocking things I'd seen on TV up until that time. Still a classic, despite everything :)

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selenak March 22 2012, 05:44:48 UTC
I was half unspoiled, in that I knew John Simm had been cast as the Master, alas, BUT NOT DEREK JACOBI. So I knew the Master would be coming back for the finale, but hadn't expected him in Utopia. And then started to go, in tandem with the episode, hang on....

B7: I bet. Alas, spoiled for that as well, and I envy you for seeing it unprepared. Err, if that's the right expression. :)

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katie_m March 21 2012, 22:41:57 UTC
Hey, Blake, a small suggestion: When someone points a gun at you and asks if you've betrayed them, THE ANSWER IS NO.

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selenak March 22 2012, 05:45:07 UTC
Obviously.:)

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