Miss-Meggo I don't have much to say about this film other than the fact that at 25 minutes in, I was considering shutting it off, but I decided to finish it because I didn't have anything else to do. I'm very glad I finished it. It was charming for reasons that I can't put into words.

Vonia L'Atalante (1934) (French: Le Chaland Qui Passe {The Passing Barge}) Director: Jean Vigo Watched: March 2018 Rating: 7/10 {Clue: This film proves that more is not always better; sometimes, this is best.} Silent film spirit with limited dialogue- instead spotlighting poetic images and enchanting scenes, Interesting supporting characters with colorful personalities, like the one-man band street peddler that tries to woo Juliette, Magical realism elements like the folk tale that says one can see the face of their true lover in the water and that celestial underwater love scene, Père Jules is the glue that holds this little barge party together- with his wiseness disguised by comical antics, Lacks character and emotional depth; more a playful work of art than a film masterpiece, Easily makes the list of magical, timeless love stories- though overrated by critics and top ten lists. Acrostic is a form of poetry where the first letters in each line, paragraph, or word are doubly used to spell a name, phrase, or word. The word "acrostic" comes from the Greek words "akros" (outermost) and "stichos" (line of verse). Read the appropriate letters in the poem vertically to reveal the extra message, called the "acrostich"! #Acrostic #PoemReview #Classics

Hitchcoc It takes amazing talent to take a claustrophobic barge, put three people on it, and turn it into a lovely, engaging film. There are several themes at work here. First of all, we have the newlyweds. At times we don't quite get why they ever married. Each is a personality that portrays a recipe for disaster. Secondly, the boat itself is a character, moored in ugly seaside places, each providing places for events to happen. Temptations and distractions and challenges and so on. Of course, love does conquer all, and when the young lady goes astray (although she probably has reason to do so) she finally pulls the guy back into her precious being. I don't know if this is as great as some make it, but it is so very captivating. Don't miss it.

kurosawakira Vigo's last film that quite literally killed him. One of the finest films I've seen, one that mystifies, evades, invites to be seen again and again. Having these kinds of films around gratifies simply since they're so few and far between.For some reason this pairs up well with "In the Mood for Love" (Fa yeung nin wa, 2000) by Wong Kar-Wai: both are masterful depictions of space and fluid camera, love that is and love that isn't, yearning that is and is not realized. Vigo's ability for ellipsis and the implied is uncanny. He leaves us a lingering suspicion and our ever-changing memory.Parlo is perfect in the kind of sweetness and desirability that makes the camera fall in love with her. In terms of craft, Simon's Jules is the most astonishing character in Vigo: wildly playful, Falstaffian, rugged and rough on the outside but still basically the only one in the film whom we may call sagacious. He's the architect in the film, ultimately, something the tormented Jean cannot be: he makes things happen. Incidentally, he's the one who fixes things: the gramophone, the marriage of Jean and Juliette, the fate of the barge at the office, and yet he still remains in the background. It's the mélange of Simon's flamboyance and Vigo's remarkable introspection and empathy that make Jules the enigma that he ultimately is.The Criterion Collection has released this on Blu-ray in "The Complete Films of Jean Vigo". It's among the most pivotal cultural acts of the digital era.