8 Mile, Michael Clayton, Ben Hur, Spartacus, The Gauntlet, Hamlet, Network, The Young Lions. Rebel without a Cause, East of Eden, On the Waterfront, all films and stories about pure individuation. Having the courage at last, through obstacles from hell, to say this is me, this is who I am and this is what I believe in and I don’t give a fuck anymore what anyone thinks. Kind of thing. Healing the wild heart into pure passion as compassion. Freeing ourselves from the false tribe from hell. Creating our destiny of love out of hate.
Amera Ziganii Rao © 2011
8 Mile
8 Mile is a 2002 American hip-hop drama film, directed by Curtis Hanson and starring Eminem, Kim Basinger, Brittany Murphy, and Mekhi Phifer.
The film is an account of a young rapper, thought to portray Eminem, growing up in poverty-stricken Detroit. Although the movie stars Eminem he says the movie is not a full portrayal of his early life and start of his rap career. As such, the film is set in the underground Detroit hip-hop scene in 1995. The film depicts white rapper Jimmy "B-Rabbit" Smith Jr. (played by Eminem) as he struggles for respect among his peers, mostly African-American.
The film was a financial success, was well received critically, and won an Academy Award for the Best Original Song for Eminem's "Lose Yourself", becoming the first film with a rap/hip-hop song to win an Academy Award.
The film starts out in 1995 with Jimmy (Eminem), a young and unhappy blue collar worker, struggling with different aspects of his life. He has moved back north of 8 Mile to the rundown trailer home in Warren of his alcoholic mother, Stephanie (Kim Basinger), his sister Lily (Chloe Greenfield), and Stephanie's abusive live-in boyfriend Greg (Michael Shannon). Jimmy is focused on getting his music career started, but he seems unable to catch a break. (when he does get on stage to rap, Jimmy cannot speak. He is catatonically stage struck and vomits violently before he goes on stage, and yet all he wants to do is be a rapper). Just prior to the events of the film, he ends a relationship with his recently-impregnated babysitter, Janeane (Taryn Manning), and during the film, begins a new relationship with Alex (Brittany Murphy), whom he meets at the factory when she shows up one day looking for her brother.
Jimmy comes to realize that his life has remained largely the same since he graduated high school. At first, he considers himself a victim of his circumstances and blames others for his problems. Over time, though, Jimmy begins to take responsibility for the direction of his life and realizes that he has a large degree of control over how it will go. He begins to question whether his group of friends, including Future (Mekhi Phifer), are holding themselves back from moving on to bigger things. With his onstage choke still fresh in his mind, he appears to decide that he will give up on or postpone his dream of a music career in favor of devoting more time to his day job and building a home life.
Jimmy's new-found responsibility becomes evident to his supervisor at the factory as well. At the beginning of the film, when Jimmy requests extra shifts, his supervisor laughs at him (because of his tendency to be late to work), but by the end, Jimmy's improved attitude and performance earn him the extra work he had originally asked for. However, a late night shift conflicts with the next battle tournament. Jimmy initially doesn't want to go, but a visit from Alex changes his mind. Paul, a homosexual co-worker whom Jimmy stood up for earlier in the film, agrees to cover for him.
The battle acts as kind of a "final conflict" with a rap group called "Leaders of the Free World", who have harassed Jimmy throughout the film. This begins with the deterioration of Jimmy's friendship with Wink. The latter continually pesters Jimmy everyday with promises that he can help him "get big"- that he knows people with influence, and that Wink can hook Jimmy up with the support he needs.
However, he is betrayed when Jimmy shows up at the studio and finds Wink having sex with Alex. A fight ensues, in which Wink is badly beaten. In revenge, he shows up with Papa Doc and the other members of "Free World" to attack Jimmy outside his home in the trailer park in front of Lily, with the mob badly assaulting him, and leaving him with a black eye that's present at the final battle.
Jimmy's friends hail him throughout the film as an incredible rapper, but until this point the film only shows snippets of his skills. The tournament has three rounds, and in each of them Jimmy faces a member of the "Leaders of the Free World". Jimmy wins both of the first two rounds with progressively more impressive freestyle raps. In each one, including the last he goes over the 40 second limit and the beat gets cut but he is still rapping which further showcases his abilities. In the last round, he is paired against Papa Doc, the tournament's most feared battler and Jimmy's main antagonist throughout the storyline. Jimmy is aware that Doc knows all his weak points, so he decides to address them pre-emptively with his freestyle. Jimmy and acknowledges without shame his white trash roots and the various humiliations the Free World clique have inflicted on him, and then uses the difficult life he's had as a springboard to reveal the truth about Papa Doc: despite passing himself off as a thug, he has a privileged background. Doc, whose real name is Clarence, attended Cranbrook, a private school located in upper class Bloomfield Hills, and lived all his life in a stable two-parent household.
Jimmy makes a reference to "Shook Ones Pt. II", the beat that the DJ is spinning, by calling Papa Doc a "halfway crook", which sends the crowd into a frenzy. Doc is left with nothing to say in rebuttal and drops the mic. As Jimmy leaves the venue, Future suggests that he stay and celebrate his victory while also offering a position that would allow him to host battles at The Shelter. Jimmy refuses, claiming he has to get back to work and do everything his own way, to which Future agrees. The final shot displays Jimmy walking away from the shelter, more confident of the future ahead of him.
The film is an account of a young rapper, thought to portray Eminem, growing up in poverty-stricken Detroit. Although the movie stars Eminem he says the movie is not a full portrayal of his early life and start of his rap career. As such, the film is set in the underground Detroit hip-hop scene in 1995. The film depicts white rapper Jimmy "B-Rabbit" Smith Jr. (played by Eminem) as he struggles for respect among his peers, mostly African-American.
The film was a financial success, was well received critically, and won an Academy Award for the Best Original Song for Eminem's "Lose Yourself", becoming the first film with a rap/hip-hop song to win an Academy Award.
The film starts out in 1995 with Jimmy (Eminem), a young and unhappy blue collar worker, struggling with different aspects of his life. He has moved back north of 8 Mile to the rundown trailer home in Warren of his alcoholic mother, Stephanie (Kim Basinger), his sister Lily (Chloe Greenfield), and Stephanie's abusive live-in boyfriend Greg (Michael Shannon). Jimmy is focused on getting his music career started, but he seems unable to catch a break. (when he does get on stage to rap, Jimmy cannot speak. He is catatonically stage struck and vomits violently before he goes on stage, and yet all he wants to do is be a rapper). Just prior to the events of the film, he ends a relationship with his recently-impregnated babysitter, Janeane (Taryn Manning), and during the film, begins a new relationship with Alex (Brittany Murphy), whom he meets at the factory when she shows up one day looking for her brother.
Jimmy comes to realize that his life has remained largely the same since he graduated high school. At first, he considers himself a victim of his circumstances and blames others for his problems. Over time, though, Jimmy begins to take responsibility for the direction of his life and realizes that he has a large degree of control over how it will go. He begins to question whether his group of friends, including Future (Mekhi Phifer), are holding themselves back from moving on to bigger things. With his onstage choke still fresh in his mind, he appears to decide that he will give up on or postpone his dream of a music career in favor of devoting more time to his day job and building a home life.
Jimmy's new-found responsibility becomes evident to his supervisor at the factory as well. At the beginning of the film, when Jimmy requests extra shifts, his supervisor laughs at him (because of his tendency to be late to work), but by the end, Jimmy's improved attitude and performance earn him the extra work he had originally asked for. However, a late night shift conflicts with the next battle tournament. Jimmy initially doesn't want to go, but a visit from Alex changes his mind. Paul, a homosexual co-worker whom Jimmy stood up for earlier in the film, agrees to cover for him.
The battle acts as kind of a "final conflict" with a rap group called "Leaders of the Free World", who have harassed Jimmy throughout the film. This begins with the deterioration of Jimmy's friendship with Wink. The latter continually pesters Jimmy everyday with promises that he can help him "get big"- that he knows people with influence, and that Wink can hook Jimmy up with the support he needs.
However, he is betrayed when Jimmy shows up at the studio and finds Wink having sex with Alex. A fight ensues, in which Wink is badly beaten. In revenge, he shows up with Papa Doc and the other members of "Free World" to attack Jimmy outside his home in the trailer park in front of Lily, with the mob badly assaulting him, and leaving him with a black eye that's present at the final battle.
Jimmy's friends hail him throughout the film as an incredible rapper, but until this point the film only shows snippets of his skills. The tournament has three rounds, and in each of them Jimmy faces a member of the "Leaders of the Free World". Jimmy wins both of the first two rounds with progressively more impressive freestyle raps. In each one, including the last he goes over the 40 second limit and the beat gets cut but he is still rapping which further showcases his abilities. In the last round, he is paired against Papa Doc, the tournament's most feared battler and Jimmy's main antagonist throughout the storyline. Jimmy is aware that Doc knows all his weak points, so he decides to address them pre-emptively with his freestyle. Jimmy and acknowledges without shame his white trash roots and the various humiliations the Free World clique have inflicted on him, and then uses the difficult life he's had as a springboard to reveal the truth about Papa Doc: despite passing himself off as a thug, he has a privileged background. Doc, whose real name is Clarence, attended Cranbrook, a private school located in upper class Bloomfield Hills, and lived all his life in a stable two-parent household.
Jimmy makes a reference to "Shook Ones Pt. II", the beat that the DJ is spinning, by calling Papa Doc a "halfway crook", which sends the crowd into a frenzy. Doc is left with nothing to say in rebuttal and drops the mic. As Jimmy leaves the venue, Future suggests that he stay and celebrate his victory while also offering a position that would allow him to host battles at The Shelter. Jimmy refuses, claiming he has to get back to work and do everything his own way, to which Future agrees. The final shot displays Jimmy walking away from the shelter, more confident of the future ahead of him.
Michael Clayton
Michael Clayton is a 2007 American dramatic film written and directed by Tony Gilroy, produced by Sydney Pollack, and starring George Clooney, Tom Wilkinson, Tilda Swinton, and Sydney Pollack. The film chronicles the attempts by attorney Michael Clayton to cope with a colleague's apparent mental breakdown, and the corruption and intrigue surrounding a major client of his law firm being sued in a class action case over the effects of toxic agrochemicals.
Michael Clayton (George Clooney), an attorney with a gambling problem, leaves a late night poker game. He works for the prestigious New York City law firm Kenner, Bach & Ledeen as a "fixer", someone who takes care of problems with the firm's clients when said clients' lawyers are out of town. Michael is summoned to meet with an anxious client (Denis O'Hare) who believes he has committed a hit and run. After Michael leaves, he pulls off to the side of the road after some aimless driving. When he leaves his car to look at some horses, it explodes behind him.
Four days earlier, Michael owes $75,000 to organized crime figures represented by loan shark Gabe Zabel (Bill Raymond), thanks in part to his gambling, and his failed attempt to open a bar with his brother Timmy (David Lansbury). Then he is called with the news that one of the firm's leading attorneys, Arthur Edens (Tom Wilkinson), had a bizarre outburst in the middle of a deposition in Milwaukee involving a class action lawsuit against United Northfield (or U-North), an agricultural products conglomerate. Michael is sent to fix the situation, gets
Arthur out of jail, but is unable to transport him back to New York before Edens escapes from his hotel in the middle of the night.
Karen Crowder (Tilda Swinton), U-North's general counsel, obtains Arthur's briefcase and discovers that he came into possession of a confidential U-North document detailing the company's decision to manufacture a weed killer that it knew to be carcinogenic and to have the potential to enter the water supply of small farms, undetected. Karen soon learns that Edens has Bipolar disorder, and unwilling to commit himself to a mental health institution. His psychotic episode was the result of him forgetting to take his medication. She decides to hire two men (Robert Prescott, Terry Serpico) to follow him, including tapping his phone and installing bugs in his apartment. The surveillance collected eventually reveals that Edens is building a case against his former client, leading Karen to ask the team to permanently incapacitate him. They assassinate Edens in a manner that makes it look like he committed suicide.
Michael is saddened by the news of Arthur's death, but becomes suspicious upon learning that U-North was planning a settlement just a few days prior, and that Arthur had booked a flight for one of the plaintiffs, Anna (Merritt Wever). He learns from Anna that she told no one of her conversations with Arthur, not even her attorney, arousing in Michael further suspicion regarding how his firm came to know of Arthur's conversations with the U-North class members. Michael manages to sneak into Arthur's apartment, and discovers a receipt from a copy store.
Upon investigation, he discovers that Arthur had ordered three thousand copies of the confidential U-North document be made. Michael takes a copy with him, but the two hit men are tailing him and inform Karen of the situation. Michael is about to show his boss, Marty Bach (Sydney Pollack), what he has discovered, only to be offered a renewal of his employment contract, as well as an $80,000 bonus that will cover his failed restaurant debt, although it comes with strings attached that prevent him from ever shaking down the firm.
As Michael plays poker that evening, one of the hit men rigs his car with a bomb. Michael leaves the game, and receives a phone call summoning him to the meeting with the client in Westchester County who had committed a hit-and-run, as seen at the start of the movie. He is being followed by the two men, but they have trouble tailing him. The surveillance team, still off but near Michael's trail, detonates the remote bomb while he is out of the car. An unharmed but surprised
Michael runs back to his car and throws his personal effects inside, thus faking his own death.
Later, at a U-North board meeting, Karen proposes approval of a new settlement agreement. Michael is waiting for her when she exits the conference, and informs her that he has access to copies of the U-North memo and that he knows about her role in Arthur's murder. He demands to be paid off personally by Karen for his silence for $10 million. Karen reluctantly agrees, prompting Michael to reveal the cellphone in his pocket. As he walks away, detectives arrest Karen and U-North's chairman (Ken Howard). Michael's brother, the NYPD detective, had been monitoring their conversation. Michael leaves the building and hails himself a cab. He tells the driver, "Give me $50 worth. Just drive."
The Young Lions
The Young Lions is a 1958 film directed by Edward Dmytryk, based upon the 1949 novel of the same name by Irwin Shaw, and starring Marlon Brando, Montgomery Clift, and Dean Martin.
The Young Lions is about the destiny of three young soldiers involved in WWII. The German officer, Lt. Christian Diestl (Marlon Brando), approves less and less of the war, while the American-Jewish GI, Noah Ackerman (Montgomery Clift), tries to survive the very bigoted military and Michael Whiteacre (Dean Martin), who starts out as a coward who tries to avoid the war, becomes more and more blood-thirsty as the war progresses.
Christian is caught in the middle of this war because he fancies two women who are American and French. He does his duty in the German Army but realizes at the end that the war, and just about everything else except his French girlfriend, is lost. Ackerman is befriended by a fellow draftee, the reluctant soldier Michael Whiteacre (Dean Martin), and falls in love with a New England woman named Hope (Hope Lange) whose father is anti-Jewish.
Plot summary
German ski instructor Christian is hopeful that Hitler will bring new prosperity to Germany and when war breaks out he joins as a lieutenant. Dissatisfied with police duty in Paris, he requests to be transferred and is assigned to the front in North Africa. He sees what the war has done to his captain (Maximilian Schell) and the captain's wife (May Britt), and he is sickened by their behavior. The film also follows the stories of actor-cum-cynic Michael and nice guy Noah when they befriend each other during their draft physical and are stationed together in boot camp. They are then stationed in London. Michael has dated socialite Margaret (Barbara Rush) for a long time, who coincidently in 1938 dated Christian in the Bavarian Alps when she went on a skiing vacation. But she was upset by his Nazi beliefs and deserted him on New Year's Eve to return to Michael. Just prior to the U.S. entry into the war, she enlisted to do clerical work in the army. Noah is Jewish and works as a lowly department store clerk, attends a party Michael throws, where he meets Hope. She falls in love with him and introduces her fiancé to her provincial father, who doesn't like Jews because he never met one.
But after a chat with Noah, dad approves of the marriage. Once in the service the boot-camp commanding officer and some of the tough guys in his company try to bully Noah. But Noah gains the respect of the enlisted men by fighting back in a series of fist fights, even though he's much smaller.
The film tells in great detail how each of these soldiers comes to view the war, as it makes its appeal as an anti-war film. Christian turns into a conflicted Nazi, who hates the war and what it has done to his fellow Germans but can't escape from it. He despises what his fellow soldiers have done in the name of the Fatherland but fulfills his duty to the end. Michael spends most of the war in a comfy job nowhere near any fighting, thanks to his Broadway name. He finally decides to join the fight after Margaret shames him into it. By pulling strings, he rejoins his old outfit on the front in the war's final days, almost too late to matter. Noah simply does his duty to the best of his ability, hoping to live through all the horror and get home to his wife and their new baby. He has a heroic moment where he risks his own life to save a fellow soldier, one who was especially prejudiced against him in boot camp. He then helps liberate a concentration camp full of Jews and comes face-to-face with the German result of virulent anti-Semitism.
By the film's end the three main parties cross paths and prove the film's premise: the futility of war.
Quotes. Amera Ziganii Rao
Christian Diestl (Marlon Brando) has just been shouted at to close the door on Gestapo torture, going on in the next room. He was horrified at the sound of it and wanted to see for himself. He clearly knows nothing of Gestapo methods. His superior, Captain Hardenberg (Maximillian Schell) has stopped him. This is Paris, just after the take over.
Hardenberg; Do you know where you are? Do you know who you are?
Answer me!
Christian; Yes sir.
Hardenberg; Then stop being a child! Don't you know that when you became a soldier you contracted for killing in all its forms.
Christian; I do not think it possible to remake this world from the basement of a dirty little police station.
Hardenberg; It doesn't matter what you believe! Under battle conditions, I could shoot you, for what you've just done. And I would.....The German army's invincible because it is an army that obeys orders. Any order. No matter how distasteful.
Christian; I can't accept -
Hardenberg; Be quiet! It has no sentimentalists, no moralists, no individualists. You will have no future in it if you don't understand that. You may have no future at all if you oppose it....I trouble to tell you this because you have a fine record. You will be a creative soldier, once you get all this thinking knocked out of you.
Quotes. Amera Ziganii Rao
Christian Diestl (Marlon Brando) has just been shouted at to close the door on Gestapo torture, going on in the next room. He was horrified at the sound of it and wanted to see for himself. He clearly knows nothing of Gestapo methods. His superior, Captain Hardenberg (Maximillian Schell) has stopped him. This is Paris, just after the take over.
Hardenberg; Do you know where you are? Do you know who you are?
Answer me!
Christian; Yes sir.
Hardenberg; Then stop being a child! Don't you know that when you became a soldier you contracted for killing in all its forms.
Christian; I do not think it possible to remake this world from the basement of a dirty little police station.
Hardenberg; It doesn't matter what you believe! Under battle conditions, I could shoot you, for what you've just done. And I would.....The German army's invincible because it is an army that obeys orders. Any order. No matter how distasteful.
Christian; I can't accept -
Hardenberg; Be quiet! It has no sentimentalists, no moralists, no individualists. You will have no future in it if you don't understand that. You may have no future at all if you oppose it....I trouble to tell you this because you have a fine record. You will be a creative soldier, once you get all this thinking knocked out of you.
The Gauntlet
The Gauntlet is a 1977 American action film directed by and starring Clint Eastwood. The film also stars Sondra Locke, Pat Hingle, William Prince, Bill McKinney, and longtime personal friend Mara Corday who would appear with Eastwood in another three films.
Ben Shockley (Clint Eastwood), an alcoholic cop from Phoenix, is well on his way to becoming a down-and-out when he is given the task to escort witness Gus Mally (Sondra Locke) from Las Vegas. Mally protests that they are both set to be killed in a hit, which a jaded Shockley doubts. Mally soon reveals herself to be a belligerent prostitute with mob ties and is in possession of incriminating information concerning a high figure in society. Her suspicions are confirmed when the transport vehicle is bombed and Mally's house is fired upon. Shockley and Mally are then pursued across the open country with no official assistance and with the police force regarding them as fugitives.
They eventually run into a gang of bikers which whom Shockley threatens with his gun sending them on their way, steals one of their choppers and takes off on it with Mally. The two ride into a town where Shockley and Mally are ambushed by a helicopter filled with cops sent by Shockley's corrupt superior Commissioner Blakelock (William Prince) who pursue the two away from the town and onto the open road, firing at them from above. During the high-speed pursuit, the helicopter accidentally crashes and explodes and the two then ditch the chopper and hop on a train where ironically the same two bikers whose chopper they just stole are on. As an act of revenge, the bikers attack and assault Shockley and later attempt to rape Mally (who try to sacrifice herself long enough for Shockley to set himself free), who they pin to the ground but the wounded Shockley soon grabs hold of his gun and subdues the bikers, roughly knocking the two bikers and their girlfriend off the train. The two then prepare to enter the gauntlet of armed Police Officers that corrupt Police Commissioner Blakelock has set up to stop Shockley and Mally from entering Phoenix.
The two hijack a bus and are about to enter town when Maynard Josephson (Pat Hingle), an old friend of Shockley's, warns the two of the gauntlet Blakelock has set up for them. While stepping out of the bus to discuss the terms, Josephson is shot dead by police snipers from a nearby building and Shockley is hit in the leg. Now with no other option, the two enter the town and are shot at until the bus can no longer move. The two surrender and Shockley is shot and wounded by Blakelock who in return is shot dead by Mally. The film ends with Shockley and Mally walking away from the gauntlet of cops.
AZR addition....Shockley’s jaded and quite conformist views are shaken and stirred by Mally, as she shows how she believes in what she believes and not in society’s rules or what she has been told to believe in. Shockley is the consummate policeman, who is loyal to the team and doesn’t believe a word she says. Until he does. And of course it turns out that ‘his own’ want him dead and are using him as a stool pidgeon, I think is the term. They deliberately send him to his death by getting him to accompany Mally. Hence the bus they drive into the city together at the end, to deliver her as a witness. Shockley is liberated and so is Mally, just by the fact she is allowed to stay alive and testify.
Amera Ziganii Rao © 2011
Saturday Night Fever
A huge commercial success, the movie significantly helped to popularize disco music around the world and made Travolta, already well known from his role on TV's Welcome Back, Kotter, a household name. The Saturday Night Fever soundtrack, featuring disco songs by the Bee Gees, is the second best selling soundtrack of all time. The film is the first example of cross-media marketing, with the tie-in soundtrack's single being used to help promote the film before its release and the film popularizing the entire soundtrack after its release. The film also showcased aspects of the music, the dancing, and the subculture surrounding the disco era: symphony-orchestrated melodies, haute-couture styles of clothing, pre AIDS sexual promiscuity, and graceful choreography.
The story is based upon a 1976 New York magazine article by British writer Nik Cohn, "Tribal Rites of the New Saturday Night". In the late-1990s, Cohn acknowledged that the article had been fabricated.[2] A newcomer to the United States and a stranger to the disco lifestyle, Cohn was unable to make any sense of the subculture he had been assigned to write about. The characters who became Tony Manero and his friends were based on Mods,[3] an English youth movement that also placed great importance on music, clothes and dancing.
The movie is a coming-of-age tale contemporaneously set in 1977 about 19-year-old Tony Manero (John Travolta), a skirt-chasing Italian American from (and possessing the heavy accent of) the New York City community of Bay Ridge in Brooklyn. Tony lives at home with his bickering and demeaning parents, and works at a dead-end job in a small hardware store. He lives paycheck to paycheck and often finds himself short on the weekends. But he rules the dance floor on Saturday nights with his frequent appearances at 2001 Odyssey, a local discotheque.
In the opening scene, Manero is seen strutting down 86th Street as "Stayin' Alive" plays and stopping for a bite at Lenny's Pizzeria. Tony has three close friends: Joey (Joseph Cali); Double J (Paul Pape); and the diminutive Bobby C. (Barry Miller), the only one of them who is still in high school. Bobby C. is part of the group because he is the only one with a car (a run-down 1964 Chevrolet Impala). An informal member of their group is Annette (Donna Pescow), a neighborhood girl who has been Tony's partner in previous dance competitions and longs for a more permanent and physical relationship with him. They officially dated once, but Tony was unsatisfied by the date because Annette spoke only of her three married sisters.
Knowing Annette has the right moves to win an upcoming dance contest, Tony agrees to be her partner when she recruits him for the competition, much to Annette's delight. Her happiness is short-lived, however, when Tony dumps Annette after seeing Stephanie Mangano (Karen Lynn Gorney) dance at the disco and later at a neighborhood dance studio. Stephanie is a tall, attractive, talented dancer and Tony believes she can help him win the competition. Despite an initially frosty and superior attitude toward Tony, and after much urging, Stephanie agrees to partner with him in the competition, but not otherwise.
Stephanie works as a secretary for a magazine publisher in Manhattan and is poised to move there, where she has more opportunities to work her way up. She even talks about meeting celebrities like Joe Namath and David Bowie at the offices of the magazine she works for. These discussions awaken Tony's desire to transcend his Bay Ridge, Brooklyn working-class roots, but do not overcome his reluctance to change. However, Stephanie ultimately reveals her own vulnerabilities to Tony., and that leaves its mark.
The release Tony obtains from his workaday existence through his weekend clubbing is examined through the prism of Tony's sometimes pathetic day-to-day existence, including his utterly failed relationship with his bickering parents and his lapsed relationship with Father Frank Jr., Tony's much older brother who became a Catholic priest and is clearly his parents' favorite for having been successful. Tony's mother dotes on Frank Jr., yet the particular moment of the story becomes transformative when Frank Jr. shatters his parents' dreams of what he refers to as "pious glory" by abandoning the priesthood. This may be partly because Frank Jr. no longer wishes to spend his life in celibacy, but mainly, as he obliquely explains to Tony, because he has doubts about his faith and is disillusioned with the Church. And so this film too focuses on transition at several levels.
The confidence Tony exudes because of dance also allows him to hide his demons from his friends and to be an authority figure to them. Bobby C., who looks up to Tony, asks him for advice for getting out of his relationship with his devoutly Catholic girlfriend, Pauline, who is pregnant with his child. Though Tony tells him to dump her, Bobby C. faces pressure from his family and others to marry her, which he clearly does not wish to do. After she refuses to get an abortion, Bobby asks Frank Jr. if Pope Paul VI would grant him dispensation for an abortion. Bobby's feelings of despair deepen when Frank tells him dispensation would be highly unlikely.
Double-J and Joey are Tony's more like-minded friends: macho, foul-mouthed, bigoted, chauvinistic, and with hair-trigger tempers. They engage in wild behavior including balancing themselves along the dangerous railing of the Verrazano-Narrows Bridge while in varying states of drunkenness. When another member of their clique is beaten up and put in a hospital, apparently by some Puerto Rican youths, Tony, Double-J, and Joey vow revenge and brawl with the Puerto Ricans in a bar frequented by the rival Barracuda gang, only finding out later that they may have targeted the wrong people.
On the evening of the dance competition at 2001 Odyssey, Tony and Stephanie completed their dance, and are wildly applauded. The final dancers, however, are a dazzling Puerto Rican couple. After seeing their spectacular performance, Tony knows that he and Stephanie have been outclassed. Nonetheless, Tony and Stephanie won top prize, which Tony immediately dismisses (realizing they don't deserve it), claiming the contest was rigged in his favor because of his popularity at 2001. He grabs the trophy and prize money from Stephanie and presents them to the Puerto Rican couple (who took runner-up) instead, telling them they deserve it.
The apparent fix of the result seems to end Tony's concerted ability to hide his rage at his situation. Tony begins his rant by accusing his friends of being phonies who will not respect him. Dragging Stephanie along with him, he makes a crude attempt to force himself on her in the car, an effort that ends when she fights him off and escapes. He then sullenly takes off with the gang (in an effort, to make him jealous), along with a drunk and high Annette, who Joey says is going to "give everybody a piece," evidently as retribution for Tony's refusal to be with her. Double-J and Joey both took turns with Annette, but Annette starts to cry and to struggle as she comes down from the drugs she had been given and comes to realize she did not want to have sex with them.
They pull the car off onto the shoulder at the Verranzano Narrows Bridge once more, but this time, Bobby C., who normally stays in the car, joins them, and is attempting more dangerous stunts than Tony, Double-J, and Joey had tried on the supporting structure of the bridge. Realizing that Bobby is recklessly acting out, Tony tries to coax him off the railing. But upset at his lonely life, his situation with Pauline, and a broken promise from Tony earlier that he would call him, the needy Bobby issues a tirade at Tony's lack of care before slipping and falling to his death in the Narrows more than one hundred feet below. The friends are shocked and grief-stricken. When a detective investigating the incident asks Tony if he thinks Bobby C. committed suicide, Tony responds obliquely, "There are ways of killin' yourself, without killin' yourself."
After leaving his friends behind, a distraught Tony spends the rest of the night riding the subway. He finally shows up at Stephanie's apartment in Manhattan, apologizing for his bad behavior. He tells her that he plans on leaving Brooklyn and coming to Manhattan to escape from his family and friends, and what he considers to be a fake life. He also tells her that he wants to try to salvage their relationship by being friends first and see what develops from there. Recognizing Tony's honest wish to change, Stephanie takes his hand in hers, and then him into her arms in the final, struck-pose scene.
Wikipedia
Other Film Plots
Film and Play Plots. Adult Love. The Essential Struggle. Amera Ziganii Rao
When I look at the fact that these films especially, are from the early part of the 20th century and that the themes are as prevalent today as they were then, either the 1930s as with Splendor in the Grass or the 1960s as with The VIPs and The Sandpiper, I lose hope that love will ever prevail. And it probably won't. True love is not just the ability to love, true love is the overturning of the centuries of rules put in place by what I call, the Patriarchal Womb Stealing, Female Genocide, Toilet Tribe from Hell. The Sandpiper puts it best. The artist character (Elizabeth Taylor) talks of how girls are with boys as equals at school and then after marriage, men get to do something else other than be a husband or father and women get nothing else and that this is what kills them. Nothing has changed. The moral struggles in the Reverend character (Richard Burton) are also as prevalent today as they were then. Nothing has changed there either. The two are from completely different worlds, but they do learn from each other, even if they have to leave each other in the end. And then of course A Doll's House. The seminal struggle that man has to not keep his wife as a chattel. A mix of Lolita obsession and just the right to own property, ie, a human being. Nothing has changed. The world is still in the grip of old school rules from hell. No, true love is not easily attainable at all and we now know why. Women like me do not want marriage, because women like me want to be ourselves and do the other thing, that men do too. As Laura Reynolds (Taylor) says in The Sandpiper, men have looked at her her whole life but never loved her. As I say, nothing has changed. It is a very sad world and the only thing that can help one get through it is to understand. That is the purpose of my work. To understand the immense suffering of 'the other woman' and indeed all women, whores or madonnas. The legacy of men has destroyed this planet and who knows how long it will take to overturn it. The legacy of the Mars archetype has destroyed this planet, male or female. The amount of females I know who have a teddy bear love at home and an exciting one elsewhere. So destructive, so hurtful and yet, so simply pathological and natural for them. A sincere struggle. Of psychopaths, presumably. Whatever they are, I do not know. But history has their legacy of love carnage everywhere. And the only thing to do is to understand and accept that to be of soul, to be of love, to be of art, to be of imagination, to be of passion, to be of open mind is the kiss of death for conventional society. Opposites may attract for sure, but they never last. Transient love in a unnatural world.
Amera Ziganii Rao © 2011
Film and Play Plots. Adult Love. The Essential Struggle. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/04/domestic-chattel-literature-amera.html
Other Links on Freedom.
Reputation. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/07/reputation-amera-ziganii-rao.html
A Busy Brain and An Impressive Cleavage. Amera Ziganii Rao
You just want to fuck me without humanity. That is what it comes down to my dear, whatever way you look at it. Nothing more, nothing less. If you cannot tolerate a 'busy brain and an impressive cleavage', you want to fuck me without humanity. It's called misogyny. And it is cold and nasty.
Amera Ziganii Rao © 2011
Your purgatory is that you cannot separate your sexuality from me and business. Lust without sacredness. Inhumane desire. You are all about inhumane desire and nothing else. Lolita man makes it sound glamorous. Ain't nothing glamorous about the male psycho. Grow up.
Amera Ziganii Rao © 2011
A man is not a gentleman or a mature man, until he happily opens the door for a woman as powerful, if not more powerful than him, as demanding as him, as vulnerable as him, as inteligent as him and who needs as much as him. All women have the right to be as much Marilyn Monroe as Germaine Greer, and any man who cannot treasure a woman like that, should be dismissed immediately. That kind of love is worth shit.
Amera Ziganii Rao © 2011
A Busy Brain and An Impressive Cleavage. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/06/busy-brain-and-impressive-cleavage.html
Reputation. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/07/reputation-amera-ziganii-rao.html
A Busy Brain and An Impressive Cleavage. Amera Ziganii Rao
You just want to fuck me without humanity. That is what it comes down to my dear, whatever way you look at it. Nothing more, nothing less. If you cannot tolerate a 'busy brain and an impressive cleavage', you want to fuck me without humanity. It's called misogyny. And it is cold and nasty.
Amera Ziganii Rao © 2011
Your purgatory is that you cannot separate your sexuality from me and business. Lust without sacredness. Inhumane desire. You are all about inhumane desire and nothing else. Lolita man makes it sound glamorous. Ain't nothing glamorous about the male psycho. Grow up.
Amera Ziganii Rao © 2011
A man is not a gentleman or a mature man, until he happily opens the door for a woman as powerful, if not more powerful than him, as demanding as him, as vulnerable as him, as inteligent as him and who needs as much as him. All women have the right to be as much Marilyn Monroe as Germaine Greer, and any man who cannot treasure a woman like that, should be dismissed immediately. That kind of love is worth shit.
Amera Ziganii Rao © 2011
A Busy Brain and An Impressive Cleavage. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/06/busy-brain-and-impressive-cleavage.html
Denial of Evil. How to NOT Know God. Amera Ziganii Rao
There are two archetypes in unhealed life. One separates the dark and the light into idealism and condemnation and the other is in complete denial of the darkness at all. And in extreme condemnation when they see that it can exist at all. Both archetypes are very dangerous and very unhealed and a complete reflection of a baby attitude to Divinity it seems. And indeed, a baby attitude to our parents. When we are little, our parents are Divinity. It’s natural. Our home, painful or not, is the micro of the macro. The Universe, the world, the family and the whole.
And then we get broken. Both archetypes are broken by life and by parents (who are unhealed people themselves most of the time) and by God into having to avoid the pain of the truth. That Divinity and indeed every single human being is a combination of both the dark and the light. As Samuel Beckett says, ‘Life on Earth. There’s no cure for that’. To be healed is to accept the darkness and to accept that evil is a part of Divinity and not outside Divinity and certainly something that exists.
No separation of the dark and light and no denial of the dark = healed human beings who can take responsibility for mastering their own darkness, instead of the ‘separation’ archetype questioning their own humanity time and time again out of fear that they are evil itself and that their only salvation is to find the light in another person, and being so permanently shocked that life is so full of the dark, and the ‘denial’ archetype who questions everyone else’s humanity other than their own and shits on everyone in the process of their denial and running away from life, determined to believe that the darkness and evil cannot possibly exist. And consequently being a placid and frustrated human being of no passion, no drive and no ability to even enter the dark, especially when it is needed, ie to fight for one’s rights. Or indeed, to have any sexual, passionate, or creative life connections even when they want to. Who spend their time just running or condemning, out of the need to deny that evil or the dark exists, while being secretly fascinated by it and deeply envious of anyone who can use it and master it. The unhealed life of pain, frustration and nothing.
The Denial of Evil. How to NOT Know God. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/08/denial-of-evil-how-to-not-know-god.html
The Ultimate Wisdom of Renunciation. Amera Ziganii Rao
The Meaning of Life ll. Amera Ziganii Rao
I become calm. Then I point out to myself that I am being irresponsible, that I am being selfish, that my whole dream is ridiculous and that I can't trust anyone anyway. I think again, that love is a silly dream. I become calm, don't feel and then realise that nothing is worth anything anyway, so I might as well hold onto what I have. What's the point in anything anyway? It's all a fantasy. None of it is real. Why bother in the first place? So I become calm, bland, old, unfeeling, un-passionate, cerebral, self righteous in my ‘reason’ led sensible nature, limp and frankly, dead.
And then I remember. That I am a human being and am therefore always learning how to love. I will never know how to love. I will only keep learning.
And each bland moment of pseudo revelation I go through takes me closer to hell and I realise then, that I need to get to that place of super learning instead. And then I feel. Then I remember. Then I finally am again. A body with emotions and feelings and hopes and dreams. The vibrant human being I love being, until I get afraid. And forget it all again.
This is our journey. Back to the Heart. Back to the Source. Back to God.
Amera Ziganii Rao © 2011
Our mission is simple. To become unconditional love. The transformation of Kali, the goddess of death and resurrection into Kali, the goddess of compassion and the transformation of Shiva, the god of compassion into Shiva, the god of death and resurrection. By becoming these things, we fully regain pure intention. And manifest redemption. And complete the seven spiritual stages of love even before our first date. Such is our privilege of destiny.
Amera Ziganii Rao © 2011
Rage and entropy being the non loves of Kali and Shiva, respectively. And all non love being fear and pain and greed.
Amera Ziganii Rao © 2011
The Ultimate Wisdom of Renunciation. Amera Ziganii Rao
Thoughts on God Pt l. Amera Ziganii Rao
If enlightenment is the recognition that the love of God/The Universe, is both dark and light and that existence is the all and the whole, then we on Earth have to go further. Earth enlightenment is the recognition that this planet is the actual, complete darkness of God and that bringing the light of the same God into existence, is OUR purpose. Our privilege. God in each one of us. The love. Every hour and every day of our pitiful lives here. We are God's darkness because nothing is outside God. And we are God's light because nothing is outside God. But Earth is the darkness of God. Let us be in no illusion about that. And then we might just win. Accept the whole and choose the way. And therefore, apparently, do 'Thy' will. But do. 'Thy' will is not to obey. 'Thy' will is to love. To stand up for love in each moment in the darkness of Earth, the Divine darkness of Earth, to choose love.
To represent God on God. To take part in Creation. To Love.
Amera Ziganii Rao © 2011
Thoughts on God Pt l. Amera Ziganii Rao
Dare To Follow Your Dreams. Amera Ziganii Rao
Anima and Animus. The Mask We Adopt in Life. Amera Ziganii Rao
Yes, I should have understood this a long time ago. Long before I even met you. We adopt a mask so effectively, that we become the mask. And the mask is animus. The male. Whether it is macho or reason. It is a mask, if it becomes all that we are. If we become only the animus. The problem with adopting the mask, which we all do for self protection in a loveless world of rampant over balance on dry animus, is that we become it. We push out soul. We find soul dangerous, we find anima dangerous. And I am saying that as a woman. The Jung defined Eros daughter who is the very unusual man woman woman for sure, but when I look at other versions of women, I see they have pushed out soul and anima extremely effectively. It is just called reason instead.
The problem is, well there are two problems. One, no one wants to be a mask, but we all become it. Ego doesn't tell us (as children) that if we self medicate with ego, we actually become ego. But secondly, courage is of anima. That is what no one tells us. Courage is not animus. Courage is love. That sounds judgmental but it is not. I love my animus in equal measure to my anima. When I go up against a person of non love, I move from anima solidly and squarely but with the force and analysis of animus. Perfectly I may add and I meet perfection in other people who help me, increasingly as well. One in particular recently who is another very powerful woman but extremely female in heart.
Amera Ziganii Rao © 2011
Dare To Follow Your Dreams. Amera Ziganii Rao
http://ameraziganiirao.blogspot.com/2011/08/dare-to-follow-your-dreams-paulo-coelho.html
Intention. Wayne Dyer
How you came to experience yourself as disconnected from intention. If there’s an omnipresent power of intention that’s not only within me but in everything and everyone, then we’re connected by this all pervading source to everything and everyone and to what we would like to be and what we would like to have and what we want to achieve and to everything in the Universe that will assist us.
All that is required is re-aligning ourselves and activating intention.
But how did we get disconnected in the first place? How did we lose our natural ability to connect? Lions, fish and birds, they don’t get disconnected. The animal, vegetable and mineral worlds are always connected to their source. They don’t question their intention. We humans though, with our capability for our presumably higher brain functions, have something we refer to as ego.
Which is an idea that we construct about who and what we are. Ego is made of six primary ingredients that account for how we experience ourselves as disconnected. By allowing ego to determine your life path, you de-activate the power of intention.
Briefly, here are the six ego beliefs; I’ve written more extensively about them in my previous books, most notably, Your Sacred Self.
1. I am what I have. That is, my possessions define me.
2. I am what I do. That is, my achievements define me.
3. I am what others think of me. That is, my reputation defines me.
4. I am separate from everyone. That is, my body defines me as alone.
5. I am separate from all that is missing in my life. That is, my life space is disconnected from my desires.
6. I am separate from God. My life depends on God’s assessment of my worthiness.
No matter how hard you try, intention cannot be accessed through the ego. So take some time to recognise and re-adjust any or all of those six beliefs. When the supremacy of ego is weakened, in your life, you can seek intention and maximise your potential.
Wayne Dyer
Envy And Fear And The Evil of Jealousy And Hatred. Amera Ziganii Rao
Friedrich Nietszche says it all.
The individual has always had to struggle to keep from being overwhelmed by the tribe. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to pay for the privilege of owning yourself.
And then eventually, we meet the right people or the rightness in the people we know. That is a certainty too. Alchemy. Change yourself and you change your world and you change THE world.
Amera Ziganii Rao © 2011
We are all born slaves. It is up to us to find out how and why. And then we are free. Consciousnessness. The politics of the 21st century. Change yourself, change your world and therefore change THE world. We are all born slaves and we are all born to become free.
Amera Ziganii Rao © 2011
Envy And Fear And The Evil of Jealousy And Hatred. Amera Ziganii Rao
Slavery To Freedom 1. Amera Ziganii Rao
Sensitivity is power. God is power. Love is power. Kindness is power. Naivity is power. Innocence is power. Compassion is power. Timidity is power. Doubt is power. Fear is power. Tenderness is power. Love is power.
Amera Ziganii Rao © 2011
Love comforteth like sunshine after rain. Venus and Adonis.
William Shakespeare
Sexually empowered women are called bitches, dykes, ball-busters, etc., by both sexes. Sexually independent women, once respected as sacred vessels of the Goddess, are degraded as evil temptresses, obstacles between man and a sexless heaven.
Diana Rose Hartmann
...I went within. I stopped all the jobs. I became the conscious existentialist and I re-programmed my mind and educated myself. From scratch to find the answer. And I did. And I killed them all off. I killed off Ike Turner too. The sabatoging male whose own psychosis demands subconsciously and even consciously that I remain a child, even though he would swear blind he hated dependency...Reversing the Infant.
Amera Ziganii Rao © 2011
A Mystic, a Mother, an Artist, a Philosopher, an Intellectual, an Academic, a Thinker. A Feeler. Women and Men of Venus.
Amera Ziganii Rao © 2011
The quest for freedom. The right of every human on Earth.
Amera Ziganii Rao © 2011
Slavery To Freedom 1. Amera Ziganii Rao
Slavery To Freedom ll. Amera Ziganii Rao
The journey. The one you have to make, with certainty the glorious boon and freedom, the prize. Enlightened selfishness. You realise then, after you have forgotten why you even began, that you've suddenly earned it. You were given the gift and now you have earned it. Well and truly. The rest is the responsibility of using that ability. But know that you are now finally, consciously, gifted with the gift. The gift of love. Being consciously gifted is the second existence.
Amera Ziganii Rao © 2011
So one person's rule breaker is another person's rule CREATOR.
Amera Ziganii Rao © 2011
What is anarchy? What is establishment? What is rebellion? What is creating one's destiny? Who is in control of your life? What is slavery? Do you agree with slavery? Do you like being a slave? Do you understand what the Matrix is? Do you want other people to be in control of your life? Do you agree with polite society? Do you think you are a rebel without a cause? Do you think you are a reformer? Do you believe in the rules? Do you think things are allowed to change? Do you see yourself as a vehicle of change or of stagnation? Do you think stagnation is convention? Do you agree with conformity and convention?
Amera Ziganii Rao © 2011
You will NEVER be loved by the tribe. You can't be. The Tribe is the machine world. The world of machines. Your mothers, your fathers, your uncles and your aunts. All plugged into the machine system of the world. The Patriarchal Tribe Society. The polite society. And to leave them is the most painful thing on Earth. But it is the only way.
Amera Ziganii Rao ©
Amera Ziganii Rao © 2011
So one person's rule breaker is another person's rule CREATOR.
Amera Ziganii Rao © 2011
What is anarchy? What is establishment? What is rebellion? What is creating one's destiny? Who is in control of your life? What is slavery? Do you agree with slavery? Do you like being a slave? Do you understand what the Matrix is? Do you want other people to be in control of your life? Do you agree with polite society? Do you think you are a rebel without a cause? Do you think you are a reformer? Do you believe in the rules? Do you think things are allowed to change? Do you see yourself as a vehicle of change or of stagnation? Do you think stagnation is convention? Do you agree with conformity and convention?
Amera Ziganii Rao © 2011
You will NEVER be loved by the tribe. You can't be. The Tribe is the machine world. The world of machines. Your mothers, your fathers, your uncles and your aunts. All plugged into the machine system of the world. The Patriarchal Tribe Society. The polite society. And to leave them is the most painful thing on Earth. But it is the only way.
Amera Ziganii Rao ©
Slavery To Freedom ll. Amera Ziganii Rao
Amera Ziganii Rao. A Profile
WRITER. ESOTERIC. PHILOSOPHER. ENLIGHTENER. INSPIRER. PHOTOGRAPHER. ARTIST. SELF ACTUALISATION. LIBERATION. SEXUALISATION. HUMAN RIGHTS
Amera Ziganii Rao is a philosophical writer, essayist, social commentator, cultural commentator, spiritual commentator, prose writer, dramatist and photographer as well as a consciousness explorer, mystic, self actualiser and emotional healer. She is a former hard news journalist who is now turning professional with her art forms and indeed, her healing forms, after a long journey of inner searching, self teaching and exploring many layers and areas of both craft and wisdom. She is now working on her first book of philosophy and esoteric thought, and social, cultural and spiritual commentary. She is also showing her first photography collections. And last but most definitely not least, she is building a business to share her consciousness and empowering explorations to reach as many people as possible across the world. She is in her forties and lives in London.
Amera Ziganii Rao © 2011
AMERA ZIGANII RAO SCHOOL OF LEARNING
Writer and Enlightener, Amera Ziganii Rao, is now putting together a comprehensive and unique programme of Education For Liberation. Liberation of the lower mind into the higher mind, the soul and the inner heart and therefore one's true, confident, happy, successful, creative, sexual, sensual, individual, intelligent, emotionally healed, capable of loving and being loved self. Based on her scholarly and non scholarly work over 15 years (so far), if not for her whole life, and her extensive and intense, visceral experiences of self transformation from resignation, cynicism and despair to a state of relative bliss, and above all, the right to be, the courses will cover the method of change. The psychological, sociological, spiritual, cultural, political, emotional and physical and even anthropological methods of change. Why we are here. The meaning of life, no less. This will be on offer in the future. My first book of consciousness, a comprehensive series of online courses, live events and audio and visual material. Books, live events, CDs and DVDs. The method of change. The right to be and the way to have the right to be.
Amera Ziganii Rao © 2011
AMERA ZIGANII RAO SCHOOL OF LEARNING ll
In the meantime, please enjoy this website. I have included many of the subjects I am covering, areas of experience and insight that I will be exploring to the fullest in my book, the courses and all the other work that is to come as a dramatist, novelist and essayist. I also of course, include many of the wise people on this planet, who have come long before me; authors, screen dramatists, playwrights, film makers, artists, and other enlighteners and grand carriers of the wisdom I have found the most helpful on my journey, to find peace and become enlightened. The seemingly impossible journey, in the face of oneself and one’s circumstances. People who have contributed massively to my healing on this mad journey called life, in this insane existence called The Universe. People who have helped to make me as good a carrier of wisdom as I in turn, can be. Thank you.
Amera Ziganii Rao © 2011
Amera Ziganii Rao. Philosophical Writer, Communicator and Empowerer. Essayist. Dramatist. Prose Writer. Artist Photographer. Actor. Film and TV Creative. Entrepreneur. Esoteric Mystic and Scholar. Shaman. Clair Cognisant. Metaphysicist. Consciousness Explorer. Self Actualiser. Alchemist. Sage. Sacred Whore. Sexualist. High Priestess. Titan. Gladiator. Freedom Fighter. Feminist. Egalitarian. Spiritual Truth Seeker. Defender of The Meek and The Unrecognised. Warrior. Samurai. Outlaw. My Business is Human Rights, The Right to a Sexual Society, Self Actualisation and Freedom. My Business is To Overthrow Fascism, in the Home and in the Country. My business is also mastering destiny. Overthrowing the ultimate fascism. The Universe. Fate. Submitting to the journey to liberate and evolve oneself, through following one's heart, however much heartbreak and devastation it leads to on the long long long journey to freedom and then the longer journey to happiness. 'Long Road to Freedom', as Nelson Mandela says. My business is always taking risks, never giving up and making the endless sacrifices it takes to become whole. Enlightenment, Nirvana and then Parinirvana and beyond. My business is pain.
Amera Ziganii Rao © 2011
Thank you to outside sources for photography
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