Murtaza

I wasn’t really expecting much from this, especially since I haven’t really seen a Cary Grant film before, but I ended up really liking it. The film was good and funny at times, and Audrey Hepburn is just so pretty in this one. She’s so beautiful, and the dresses she wore were so perfect for her. Cary Grant was really nice too, and I really liked his playful character, even if it was a bit corny at times. But the ending was just so fucking good. That first twist completely caught me off guard, and the final final twist was even crazier. I really loved the ending, and the final chase was pretty good as well. Audrey did a wonderful job acting, and overall it was just a really fun and cute film.

I wasn’t expecting much when I went in, and I wasn’t really in the mood to watch a film, but as soon as I started watching it, the first scene was really interesting. As I kept on watching it, it was so hauntingly beautiful and so mythical, and it kind of… had encapsulated me in a way. By the middle of the film, when he was at his old home, I was so invested in it. I felt like I was one with the film. I didn’t really have a sense of self that I was watching a film. I was so engulfed in it, I just was in a trance, for the lack of a better word. And then I kind of snapped out of it and felt like, oh, I’m watching a film. It was just so weird but good, and I don’t think I’ve really felt that with anything else. The film itself, especially the character development of the professor, from a cold and insensitive old man to a good father and a good father-in-law, was really beautiful. I particularly loved the scenes with his son and what he said about having children and bringing children into this world. That one really hit close to home. That was really, really nice. I really liked the dreams as well. They were very interesting, and they really caught my attention. They were weird and kind of inexplainable, but they fit the film so well. The cinematography at times had me thinking, what the fuck? How did Bergman do this in the ’50s? ’57 when it came out. It was quite astonishing. I was rather surprised to see how good the transitions were and how good the shots were, how pretty they were. And the acting was absolutely marvelous. Every person in the film delivered such a beautiful and strong performance. I’m just at a loss for words. I’m just in awe. Everyone was so good at their roles and how they portrayed their characters, especially the daughter-in-law, the professor, and the son. They were all absolutely brilliant. I really liked Bibi Andersson as well. She played two different roles and did a pretty good job, I think. I also really liked the philosophical part of it, especially the debate of atheism and theism. And the whole thing with the professor seeing his wife having an affair was quite painful. The way she talks about how cold he is, how he’ll forgive her but won’t really forgive her because he doesn’t really care — or at least that’s what I gathered from it — was quite sad. And how Sara left him for his brother, who was more charming, apparently, and how stale his life was. It was quite sad but realistic, and I really liked that. And I absolutely loved the ending. It was just so beautiful. I loved the structure of the film, how it went from being messy and weird and inexplainable to being like everything was okay. So I think overall this movie moved me quite a bit. It was just such a wonderful thing to experience. Obviously Ingmar Bergman. It was just a very special experience for me. I’m just in that kind of state where you watch a really good film and then you just keep thinking about it for a while. I’m just… I think I’m gonna savor it for a while.

it was ight not really scary

not my cup of tea, I suppose