मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Monday, March 18, 2024

The Thief of Bagdad@100...Brilliance of Douglas Fairbanks

 


 

Floats like a butterfly . . . Fairbanks did the vast majority of his stunts himself.

Fairbanks was such a smart guy, read what he thought about creating sets for the movie:

"A special problem that faced us for The Thief of Bagdad was my desire that a dream city should not look too well anchored on its foundations. It is easy enough to make a thing fantastic and unreal, but I wanted it to seem light in addition. By using a somewhat weird design, by painting trees and branches black even when we had real ones, by the use of light backgrounds instead of the customary dark ones which are thought to bring out the figures more clearly, by confining our colors to gray, gold, silver, black and white for everything except the actual costumes, we obtained an unusual effect; but sets built on the ground will look as if they were.

To get away from this solidity, we painted our buildings darker at the top than at bottom. This seemed to make them less solid and heavy at the bottom. We also built upon a highly polished black floor that had reflections. The vertical line of a house meets the horizontal line of the ground and ends there. Our polished floor reflects the building lines and lifts our city. And this black floor caused considerable extra work. There was endless brushing and polishing week after week."

मी हा १९२४ सालचा जबरदस्त  सिनेमा अजून बघितला नाहीये पण मला हे नाव माहित व्हायचे कारण आम्ही मिरजेत देवल टॉकीज ला बघितलेला १९६९ सालचा दारा सिंग यांचा त्याच नावाचा सिनेमा जो मला अजून थोडा थोडा आठवतो..... 



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