gri_2003_m_46_b01_f05_019
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Transcribers
- 65313343 - not-logged-in-bd2ea9b379519fec2abe
- 65359231 - jordanbg
- 65359336 - not-logged-in-4f073f9c0d426de5de61
- WINNER - 65393163 - LJE
- 65398149 - not-logged-in-b3817aca6074f8fcffb3
65313343 - not-logged-in-bd2ea9b379519fec2abe
SaturdayMy dearest Sylvia
It is twenty minutes to eleven and
I shall think about you until 11
and even, if Dandylion is very indul-
gent and allows himself to succumb com-
pletely to his delights, later than that.
Did you go to Lady From Slangii
again I'm sure you did. I envy you for
I want to see you again... I meant to
write see it (see film) again but as you
can see I made a symptomatic slip. The
main obscurity in the narrative - that is,
at what point was Rita Hayworth really
attached to O'Hara and when did the plan to
make him 'fall guy' really go into operation -
was an amusing reference if you think a-
bout it. Welles made the film im-
mediately after his marriage to Hayworth
and I am sure that he unconsciously and
deliberately confused the actual outlines
of her treachery, as treachery of the charac-
ter she played. The construction of the very
sequence was superb and, symbolism
here, Welles goes down the steps into his
cabin, then up again, and as the sequence
nears its close there are only close ups of
himself and Hayworth.
And as the soundtrack. It is still
in my ears, nick, horss, complex.
65359231 - jordanbg
WIMbledon 1987 11 MANSEL ROAD, WIMBLEDON.Sunday
My dearest Sylvia
It is twenty minutes to eleven and
I shall think about you well until 11
and even, if Dandylion is very indul-
gent and allows himself to succumb com-
pletely to his delights, later than that.
Did you go to to lady from Shanghii
again I'm sure you did. I envy you for
I want to see you again... I meant to
write see it (the film) again but as you
can see I made a symptomatic slip. The
main obscurity in the narrative - that is,
at what point was Rita Hayworth really
attached to O'Hara and when did the plan to
make him 'fall guy' really go into operation -
was an amazing reference if you think a-
bout it. Welles made the film im-
mediately after his marriage to Hayworth
and I am sure that he unconsciously and
deliberately confused the actual outlines
of her treachery, the treachery of the charac-
her she played. The construction of the very
sequence was superb and, symbolism
here, Welles goes down the steps into his
cabin, then up again, and in the sequence
near its close there are only close ups of
himself and Hayworth.
And oh the sound track. It is still
in my ears, rich, harsh, complex.
65359336 - not-logged-in-4f073f9c0d426de5de61
SundayMy dearest Sylvia
It is twenty minutes to eleven and
I shall think about you well until 11
and even, if Dandylion is very indul-
gent and allows himself to succub com-
pletely to his delights, later than that.
Did you go to cody from Shanghai
again. I'm sure you did. I envy you for
I want to see you again...I meant to
write see it ( see film) again but as you
can see I made a symptomatic slip. The
main obscurity in the narrative - that is,
at what point was Rita Haywarth really
attached to O'Hara and when did the plant
make him 'fall huy' really go into operation
was an amusing reference if you thik a-
bout it. Wellees made the film im-
mediately after his marriage to Haywarth and I am sure that he unconsciously and
deliberately confused the actual outlines
of her treachery, the treachery of the charac-
ter she played. The construction of the song
sequence was superb and, symbolism
here, Welles goes down the steps into his
calm, then up again, and as the sequence
nears its close there are only close ups of
himself and Haywarth.
And of the sound track, it is still
in my ears, rich, harsh, complex.
WINNER - 65393163 - LJE
[6-6-48] Sunday My dearest SylviaIt is twenty minutes to eleven and I shall think about you well until 11 and even, if Dandylion is very indulgent and allows himself to succumb
completely to his delights, later than that.
Did you go to Lady From Shanghai again. I'm sure you did. I envy you for I want to see you again... I meant to write see it (the film) again but as you can see I made a symptomatic slip. The main obscurity in the narrative - that is, at what point was Rita Hayworth really attached to O'Hara and when did the plan to make him 'fall guy' really go into operation- was an amusing reference if you think about it. Welles made the film immediately after his marriage to Hayworth and I am sure that he unconsciously but deliberately confused the actual outlines of her treachery, the treachery of the character she played. The construction of the song sequences was superb and, symbolism here, Welles goes down the steps into his cabin, then up again, and as the sequence nears its close there are only close ups of himself and Hayworth.
And oh the sound track. It is still in my ears, rich, harsh, complex.
65398149 - not-logged-in-b3817aca6074f8fcffb3