Estaba ahora peleándome con la posición de los dedos para tocar algunos acordes puñeteros con sol# mayor y me he dado cuenta de que el truqui está en tocar el do que sería la nota del medio y qué es la única blanca del acordé no abajo si no en la parte de arriba de la nota para tener las 3 a la misma altura. Es que está todo en Youtube!
No se me había ocurrido y estaba destrozándome la mano intentando tocar el do en la parte de abajo de la tecla 😅
Rick (Humphrey Bogart) and Victor Laszlo (Paul Henreid) are upstairs in Rick’s office, with Laszlo offering to buy the letters of transit. Rick refuses, and in reply to Laszlo’s question as to why, Rick tells him to ask his wife. They then hear German officers singing Die Wacht am Rhein in the main room below. Rick and Laszlo go out on the balcony and look down at the Germans singing.
If any moment in this film might be called a point of no return, this is it. Here, for the first time, in nodding his approval, Rick takes a stand against the representatives of the Third Reich, and places himself on the side of resistance. (..) When the stage has been properly set, the simplest physical gesture can be charged with meaning in a film. Bogart’s nod in the Marseillaise scene in Casablanca stands out as perhaps the most striking example of this important resource in cinematic storytelling, and one particularly deserving of a closer look.
One day, when Bogart appeared for shooting, Curtiz told him, ‘You’ve got an easy day today. Go on that balcony, look down and to the right, and nod. Then you can go home.’ ‘What am I nodding at?’ Bogart asked. ‘What’s my attitude?’ ‘Don’t ask so many questions!’ Curtiz replied. ‘Get up there and nod and then go home!’ Bogart did as he was told, and didn’t realize until long afterward that that nod had triggered the famous ‘Marseillaise’ scene, where Henreid leads the nightclub orchestra in drowning out some Germans who’d been singing ‘Die Wacht am Rhein.’ It’s a scene that, ever after thirty years, prickles the scalp and closes the throat, and for all Bogart knew he was nodding at a passing dog.
Nathaniel Benchley, “Here’s looking at you, kid,” Atlantic Monthly, February 1975, p. 44.
The most wonderful thing about this scene is the reality of it. This movie was made in 1942 and the war was still raging. Almost all the extras used in this scene are real French refugees who escaped to the US. The girl playing the minor role of the character Yvonne shown crying is the famed French Actress Madeleine LeBeau, who was forced to flee Europe to the US with her Jewish Husband. Per interviews about this scene long after the movie it was said after the song finished and the people cheered there was not a dry eye on the set.
I just found this screenshot on my photo library, I am not even sure how it ended there, but I thought I would write a post about one of my favorite films.
Four Weddings and a Funeral came out in 1994 and it was one of the first films I ever watched in English, with Spanish Subtitles. I must have been around 15 years old when the film was made available to borrow in VHS at my local library.
There are a number of moving love stories and interpretations on this film but none them come from the two main characters. If anything, Andie Macdowell and Hugh Grant’s story works as a mildly amusing but hard to believe backdrop for the “serious” and “deep” stories.
Kristin Scott Thomas part for Fiona on this scene, for instance.
– How about you, Fifi? Have you identified a future partner for life yet?
No need, really. The deed is done. I’ve been in love with the same bloke for ages.
– Have you? Who’s that?
You, Charlie. It’s always been you. Since first we met so many years ago. I knew the first moment. Across a crowded room. A lawn, in fact. Doesn’t matter. Nothing either of us can do on this one. Such is life. Friends isn’t bad, you know. Friends is quite something.