it’s not that i hate film literary film adaptations, but only one adaptation made me want to read the book: stendhal’s the scarlet and the black (starring ewan mcgregor and rachel weisz).*

i don’t in a respective romanic auditorium
with toga donning senators
walking to egyptian flutes from the cleopatra’s entourage
gleaming old fames as to prove the pyramids
and sphinxes were above in the hierarchy of awe
to the iodine and hod on papyrus,
to give these localities the respectable aura of re-,
i take to hammock’s kenotic and burial’s untrue:
the former feeds the northern feel of autumnal london
suburbia and the latter the southern quarter,
but never mind that, it’s already minded and eerie.
i watched the screenplay adaptation of empire of the sun today,
i have to say, i was jerking up the thought
of salty rain rather than acid rain on the environmental
perfusion surprise - so i ****** a jamaican fake on the hopscotch bonnet
mascaraed on the eyes, or the romantic tears of cutting an opinion,
but honesty... honesty! three scenes made me push my
manhood away from the stench of molten iron of the army:
the was the protagonist sang the song of the kamikaze
just after they downed a shot of koji and started singing
just after doing the flap-your-hands-in-the-air-like-you-just-don’t-care
salutations of encouraged nihilism.
it’s the editing part of the film, how the boy’s voice overpowers
everything else and becomes “monotone” against all other sounds,
the dignity of the boy’s enviousness and admiration
for the kamikaze... even in captivity! by god, what a scene!
the other scene that haunted me to near tear
was when the prisoners entered the cemetery of hoarded
valuables by the japanese upon invasion of shanghai
and taking from notables the jewellery chandeliers and cars
(pianos too): after seeing the prisoners familial in captivity
exchanging cabbage heads for cigarettes
proving what the world would be like without the existence of money...
i thought of the familial “humbling” of the people in captivity,
and the sheer haunt of the same prisoners returning
to a world they so dearly lost - in that each to his own
piano and mercedes benz, that neo-tribalism of earn earn spend
frivolity and self-interest that democracy prescribes
allocating us each a tomb of fancies (and sometimes the odd *****).
but the most striking thing became apparent - in these
japanese prisoner of war camps... the prisoners didn’t wear uniforms...
i can understand if those in power adorn uniforms,
but the oddity of the prisoners not having uniforms is quite
positively giggly sinister... given the fact that the other sinisterness
is when there’s a prison camp and those in power
wear uniforms and those imprisoned are also tailored for.
i see a major libra of power in all this,
for if the prisoners are not tailored for denoting their collectivisation
as in status of prisoners... then there’s a certain freedom in all of it,
like on the grander scale, in society, where the politicians,
the overseers only wear suits and the communities differentiate
themselves with hawaiian floral tattoos on t-shirts and tourist slogan ones too:
it’s almost as if the ultimate leniency of power was being exercised
not having to wear prisoner uniforms in the japanese pow camps,
unlike the pinstripe ones of auschwitz - as some collectivisation
of guilt within ideological framework rather than the opposite:
wrong place at the wrong time.
the last tear i got? well the music on the credits reel pulverised
by the images of a son re-recognising his mother by touchy touchy.
conclusively? better on your mother’s *** and able to cook too
than on the cooking *** of a wife and with two left hands preferring
the hot topic of takeaway or restaurants - hunter gatherer died -
me belly full of berry - how is it that **** sapiens is also called
**** perderus awhile the tortoises saturated achilles with peace and thought
and no chance of martian glory telling him of zeno’s paradox?