This is an Unhosted Cafe.
Self-serve food and drinks.
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Carousing and tumultuous merriment encouraged.
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Please recommend (and unrecommend the Cafe/Lounge from earlier)
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May the 4’s be with you
Overnight Cafe Closed. Coffee Cart Open.
Syracuse is losing and Indiana doesn’t look good. That’s going to mess up some people’s pools.
already got totally trashed with Pacific and Oklahoma both losing…
Heading for bed early tonight…I’m tired…
So this is what it’s like to make it into the Cafe early.
You’ve changed identity again I see.
I’m off to bed — it’s way too late for me on a school night. 😉
Good night Olivia. See you tomorrow.
Sorry about Ottawa losing. I hope they don’t lose Sat. I picked them and SuperSoling’s Rangers to win this weekend.
I’m fifth or so in the Hockey’s Sat Picks game 🙂
Hoosiers pull it out in the last 3 seconds.
new contraception method?
I was going to call this “The Republican Bridge to our Future”, but then I thought the old bridge would probably feel bad about that.
So I guess this evening I’ll call it;
Old Bridge with Fond Memories of Better Times
larger
That is stunning.
poor neglected bridge.
ANNA MAGNANI
1908-1973
ciao bella
Her last film appearance was in Fellini’s ROMA (1973)
in which at the very end of the film the cameraman is going house to house, comes to a half door and knocks… out comes the face of Magnani…. “do you want to do a film?” “No” says Magnani.
ROMA
Wikipedia
Roma is a poetic film depicting director Federico Fellini’s move from his native Rimini to Rome as a youth. It is formed by a series of loosely connected episodes. The plot is minimal, and the only character to develop significantly is Rome herself.
Historical Contrasts and Modern Alienation
Fellini repeatedly contrasts Roman life in wartime Fascist Italy with its counterpart in the early 1970’s. The wartime scenes emphasize the congregation of neighbors in Rome’s public places such as street restaurants, a variety show, and a bomb shelter. With the exception of hippies and a conversational scene with Felinni bemoaning the loss of Roman life with radical students, the analogous congregations of the 1970’s are between automobiles and motorcycles. Fellini makes a darker and more absurd comparison between the parade of prostitutes at wartime brothels and a fantasy runway fashion show featuring clerical garb and a papal audience.
Narrative Devices
The plot (such as it is) centers around two journeys to Rome by the director. The first is as a young man in the early 1940’s. The second is as the director of a film crew creating a movie about Rome. The film alternates these two narratives.
New York Times, ah this is better:
“Positively Stunning!” -The New York Times
Acclaimed director Federico Fellini (Fellini’s Satyricon, La Dolce Vita, 8 1/2 ) brilliantly demonstrates why he is regarded as “the last of the great epic filmmakers,” delivering “a thrilling personal memoir” (Newsweek) with this monumental and outlandish tribute to his beloved Rome – The Eternal City.
This lavish autobiography, full of “lush fantasy sequences and monumental pageantry,” (Los Angels Times ) begins with Fellini as a youngster living in the Italian countryside. In school he studies the eclectic but parochial history of ancient Rome and then is introduced as a young man to the real thing — arriving in this strange new city on the outbreak of World War II. Here, through a series of “visually stunning” (Los Angeles Times) vignettes brimming with satire and spark, the filmmaker comes to grips with a “sprawling, boisterous, bursting-at-the-seams portrait of Rome” (Interview), reinterpreting with his inimitable style an Italian history full of “rich sensual imagery and extravagant perception” (Playboy).
you ever see The Bicycle Thief (1948)?
Good Night Beautiful People!!!!!! See you tomorrow.
Have a safe and wonderful trip ((((Andi)))))