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Jaime G Biedma il. Even the name sounds good. Almost as good as his voice. As the title of the film that has been in theaters earlier this year, Consul d and So dressage, in which personal conflicts are reflected in a human being is not like he wanted to be.
That life was serious
one begins to understand what
later -like all young people, I came
to take the life ahead.
("I will not be young")
are
Do you and want to be? Not long ago, in a conversation between colleagues (Huy, danger, in this blog NOT talking about work!), We drew to the fore three features of their own personality we did not like. I fear that such-as opposed to the nose or other appendages, are not operable, at least in an operating room.
... Both of us we where in very high spirits, -
Chinchón if I remember-we Kept playing old lyrics sung by Judy Garland
, thought the world Was a friend and talk ourselves to
drunkenness for hours Without End.
("A Gabriel Ferrater)
seems that the film Consul of Sodom has been led by two directors to judge by how very different are the two parties could be established in it: first, a first (with all the vices of the English cinema unbearable: overinterpretation, evil plots strung together, red brick facades good and bad) and, on the other hand, the last thirty minutes (fast-paced, intimate, ecstatic, highly accurate the portrait of a sick person, sensitive and playboy).
The final moments of the film are, therefore, exciting. When we come to consider how we live, emphasizing the live-just days before a death served, it would be good to review the final minutes of the film. In this regard, Chapeau to Jordi Molla. That
sincerity with which you have given
do not understand them,
girl Isabel. Be careful.
("A very young lady, separate")
In Jaime Gil de Biedermann (1929-1990) sound very good, also the titles of his books: In Case time (1953), Travel Companions (1959), Morals (1959) , Posthumous Poems (1968) and People of the verb (1982), a book compilation of his work ethic
po, covering just 150 pages, and whose cover contains an autobiographical review of the best written of all time. mine Not this time. (...)
another day dawns I will not be invited
or a happy time. Neither repentance
that, not being old
- ah, Seigneur, Donnez-moi la force et le courage! -
invite to truly repent
with some other sincerely.
( De senectute )
is true that sadness that permeates this poet, whom he played a season that truly was not his, he becomes meat songwriters occurring depressive or pretentious to Bunbury, who has committed one of their own with the work of our author. So one would very much like the last song playing in the film Consul of Sodom is this:
Years of AIDS and acid
Before viewing biopic, a feared recited poems hear a shrill voice, ominously suavones inspiring thoughts. But no. These -recited it for some sort of video poems - come to move.
inefficient in an old country,
Spain something like two
civil war, a seaside town,
owning a home and little farm
and no memory. No read,
not suffer, no write, no bills to pay,
and live as a noble
ruined the ruins of my mind.
("De vita beata )
Much of the work of this poet Barcelona is marked by conflict between how you are and how you would like to be. There are people who hate their own irascible nature, others can not bear their racanería and some people can not bear it tends to lie compulsively. Like Jaime Gil could not with his penchant for candor, I've heard that the sensualist hates her ... permeability. If you have a good, ask him what he means.
If you do not discuss anything of Gil de Viedma, respóndanle to these questions likes so much: What trait of his personality change? What they do not like their way of life and lead to surgery if they could? Do not tell me that their generosity, that's never enough! Of course, let yourselves be both petulant positions as false modesty.
... By the way, whispers the sensualist who Jaime Gil de Viedma itself was a sensualist with all its contradictions. Ah, here's voice in one of the poems that best draw that conflict:
... is a hard rest, / a pathetic attempt. / While you I look with your eyes / of true orphan, and I cry / and I promise to do so no longer. / / If you were not so p. ..!
.
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