AI Gets Angry

AI has become a go-to for tedious documents and letters, but who knew that it could be told to get angry? I asked it to, and it delivered.

Your email is absolutely infuriating! How dare you try to twist my feelings and words to suit your narrative. It is crystal clear that you have no regard for my boundaries or emotions, despite my repeated attempts to communicate them to you. Your gaslighting and attempts to downplay my feelings are despicable. You have the audacity to shift blame onto me for being angry about topics that you continuously bring up. It is not my responsibility to manage your inappropriate behavior.

Love Portal at 14th Street, Manhattan

Stop trying to manipulate the situation and take accountability for your actions. My feelings are valid, and your attempts to dismiss them only solidify my decision to cut off contact with you. I have no interest in engaging with someone who consistently disregards my feelings and boundaries. Your manipulative and disrespectful behavior has left me with no desire to continue any form of communication. Do not contact me again. Sincerely infuriated, The Anger in the Machine

Rags the guard dog from Woody Allen’s Sleeper

The problem is the lack of tone, the same words repeated in a predicable pattern, no typos, no tangents. It’s like Rags in Sleeper, too cute to take seriously. We’ll have to give it time.

The Greatest Films Ever Made: The Top Thirty (#21-30)

Looking for a film to watch? Welcome to my can’t-miss list of the greatest films ever made. Rather than employ a convoluted set of criteria, citing genres, eras, directors, etc, I use two basic guiding principles: a) The immediate impact of the film and b) The compulsive need to see the film again and again. In other words, these films are not only entertaining but will leave a lifelong imprint on your brain. Without further ado, here are films #21-30…

21. Annie Hall (Woody Allen, US, 1976)

Indelible line: “How you got to teach a course in anything is amazing!” (Marshall McLuhan)

Lasting impression: A marvelous array of one-liners and gags

22. The Godfather (Francis Ford Coppola, US, 1973)

Indelible line: “Yeah, let’s talk business, Mike. First of all, you’re done.” (Moe Greene)

Lasting impression: Anti-heroes bathed in golden light

23. Honeyland (Tamara Kotevska & Ljubomir Stefanov, Macedonia, 2019)

Indelible line: “I’m not dying. I’m just making your life misery.” (Hatidže’s mother)

Lasting impression: Isolation and silence

24. Do the Right Thing (Spike Lee, US, 1989)

Indelible line: “The story of life is this: static.” (Radio Raheem)

Lasting impression: The heat of an intense summer day

25. Dead Man (Jim Jarmusch, US, 1995)

Indelible line: “You had the last philistine. This one’s mine.” (Benmont Tench)

Lasting impression: The nearest truth to the Wild West ever offered

26. Being There (Hal Ashby, US, 1979)

Indelible line: “Life is a state of mind.” (President Bobby)

Lasting impression: A fable for the digital world

27. Dazed and Confused (Richard Linklater, US, 1993)

Indelible line: “Now me and my loser friends are gonna buy some Aerosmith tickets.” (Pink)

Lasting impression: It’s remarkable how accepted and cool bullying can be

28. Elephant (Gus Van Sant, US, 2003)

Indelible line: “Fuck, anyway, Mr. Luce. Whatever.” (Eric)

Lasting impression: Mundane life punctuated by brief and shocking violence

29. Gilda (Charles Vidor, US, 1946)

Indelible line: “Gilda, are you decent?” (Ballin) “Me?” (Gilda)

Lasting impression: Rita Hayworth, the epitome of soft focus and key lighting

30. Short Cuts (Robert Altman, US, 1993)

Indelible line: “Marian, you’re not wearing any pants!” (Dr. Wyman)

Lasting impression: Everyone’s life is an utter mess

Woody Allen, Existentialist

I never bought into the whole religious thing. I thought it was all a big hustle. Didn’t ever think there was a God; didn’t think he conveniently favor the Jews if there was one. What were my sins? Kissing Barbara Westlake when I should have been hanging up my coat? God, there’s much worse. The Germans putting us in ovens. First attend to that. (32-3)

I envy people who derive solace from the belief that the work they created will live on and be much discussed and somehow make him “immortal”. All the people standing over Shakespeare’s grave and singing his praises means a big goose egg to the Bard. A day will come when all of Shakespeare’s play, for all their brilliant plots and iambic pentameter, will be gone with every atom in the universe. After all, we are all an accident of physics, not the work of intelligent design but, if anything, the work of a crass bungler. (73-4)

Excerpted from Woody’s Allen’s autobiography Apropos of Nothing.

Ice Friday: Woody Allen on Misery

I feel that life is divided into the horrible and the miserable. That’s the two categories. The horrible are like, I don’t know, terminal cases, you know, and blind people, crippled. I don’t know how they get through life. It’s amazing to me. IMG_4593And the miserable is everyone else. So you should be thankful that you’re miserable, because that’s very lucky, to be miserable.

(As Alvy Springer, Annie Hall, 1976)

The Academy’s Most Popular Award

Hollywood’s Academy of Motion Pictures Arts and Sciences is occasionally on the mark with their annual Best Picture – Casablanca (Curtiz, 1943), Midnight Cowboy (Schlesinger, 1969), Annie Hall (Allen, 1977) & No Country for Old Men (Coen Brothers, 2007). no-country-for-old-menHowever these awards have more to do with Hollywood politics and marketing campaigns – such as Harvey Weinstein bullying on behalf of the dreadfully mediocre Shakespeare in Love (1998) – and much less to do with the art of film-making. shakeAs a consequence, the Best Pictures ends up consistently falling short. This isn’t just an issue with which film wins, but which are nominated and has been a problem right from the start of the Awards in 1927. The most apparent has been in the exclusion of most of the great foreign films in ages past, failing to nominate Passion of Joan of Arc (Dryer, 1928), M (Fritz Lang, 1931), La Regle de Jeu (Renoir, 1939), regle-du-jeu-05-gSeven Samurai (Kurosawa, 1954), Wild Strawberries (Bergman, 1957), Breathless (Godard, 1960), Aguirre, Wrath of God (Herzog, 1973) and The Sacrifice (Tarkovsky, 1986) and City of God (Meirelles, 2003)…to mention only a fraction. cityofgodThe Academy is flawed at its core, responding to the topicality of the film – social movements above all – and less to the work itself. “Best Pictures” are often predicable and dull, lacking in both vision and inspiration…and this year is no different. Here’s my list of the Academy’s most glaring mistakes.

Not even nominated                  Winner (Soon to be Forgotten)

1933      Duck Soup (McCarey)              Calvalcade (Lloyd)GROUCHO MARX

1946      Gilda (Vidor)                                Best Years of Their Lives (Wyler)

1952      Singin’ in the Rain (Kelly)            Greatest Show on Earth (DeMille)

1958      Vertigo (Hitchcock)                      Gigi (Minnelli)

1968      2001: Space Odyssey (Kubrick)  Oliver! (Reed)2001_-a-space-odyssey-large-picture

1979      Manhattan (Allen)                        Kramer vs. Kramer (Benton)

1982      Blade Runner (Scott)                   Gandhi (Attenborough)

1989      Do the Right Thing (Lee)              Driving Miss Daisy (Beresford)Do the right thing

2003      Elephant (Van Sant)                     The Lord of the Rings (Jackson)

2013      The Master  (Anderson)               Argo (Affleck)themaster

That’s Show Biz.

The Eternal Complainers

It’s one thing to be self-reflective – what a fine and therapeutic thing that is! – but entirely another to brood and whine so exhaustively that no one is willing to suffer your lamentations nor even bear your presence. That said, it is a great vehicle for a story. Truly, many of our most oft-quoted heroes are little more than bitter complainers who just need to be heard. (Note that they are all men.)

5. Ivanov (Anton Chekov, Ivanov) An overly dramatic fellow who really is a jerk to everyone around him, but he doesn’t know why and he really does seem to care, so much so that he takes it out on himself in the end.      ivanovIf an intelligent, educated, and healthy man begins to complain of his lot and go down-hill, there is nothing for him to do but to go on down until he reaches the bottom–there is no hope for him.

4. Josef K (Franz Kafka, The Trial) There is no doubt that Josef K has reason to complain – horribly treated by everyone around him, resulting in his inevitable abandonment and death – but what a depressing collection of thoughts! josef kYes, that’s the conspiracy: to persuade us all that the whole world is crazy, formless, meaningless, absurd. That’s the dirty game. So I’ve lost my case. What of it? You, you’re losing too. It’s all lost, lost. So what? Does that sentence the entire universe to lunacy?

3. Alvy SInger (Woody Allen, Annie Hall) A very funny neurotic to be sure, but it’s not hard to understand why Annie finally moved across the country to get away from him. alvyI’m obsessed with uh, with death, I think. Big – big subject with me, yeah. I have a very pessimistic view of life. You should know this about me if we’re gonna go out. You know, I – I feel that life is – is divided up into the horrible and the miserable.

2. Holden Caulfield (J.D. Salinger, The Catcher in the Rye) A spoiled, selfish know-it-all who somehow holds the key to decent society. Kill all of the phonies. Indeed. holdenIt was that kind of a crazy afternoon, terrifically cold, and no sun out or anything, and you felt like you were disappearing every time you crossed a road.

1. Hamlet (Willy Shakespeare, Hamlet) A most moody fellow, profound in thought and discourse, not so great on doing anything – except for royally fucking everything up. hamletWhat a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god! the beauty of the world, the paragon of animals—and yet, to me, what is this quintessence of dust?