"That silence is more profound after noise still wants the confirmation of
science. But that loneliness is more apparent directly after one has been
made love to, many women would take their oath. As the sound of the
Archduke's chariot wheels died away, Orlando felt drawing further from
her and further from her an Archduke (she did not mind that), a fortune
(she did not mind that), a title (she did not mind that), the safety and
circumstance of married life (she did not mind that), but life she heard
going from her, and a lover. 'Life and a lover,' she murmured; and going
to her writing-table she dipped her pen in the ink and wrote:"
Orlando, Virgini Woolf
(uhu, nao tive q digitar tudo pq o livro existe online, aqui)
Assisti o Diabo Veste Prada no aviao, e achei o final muito estranho. Nada contra um final que meio q da tudo errado (eu fiquei com bastante peninha do bichinha) mas pelo q eu senti então a protagonista vai se mudar pra outro canto pela carreira do namorado, e lá ele vai trabalhar ate altas horas e tudo mais, q nem ela qnd trabalhava na revista, basicamente apenas trocando de papeis, e sendo aceitável, não só porque agora é o namorado tendo uma carreira, mas tmb como ninguém nunca se toca que a superficialidade de ambos os meios (culinária e moda) é idêntica. Nossas necessidades basicas são de se alimentar e de nos vestir/aquecer, e por sermos humanos criamos uma cultura de prazer em volta disso, para experimentarmos coisas gostosas e vestimo coisas bonitas.
Acho que a unica coisa que se pode dizer a favor da culinaria nisso, eh q existe uma diferenca obvia entre comer saudavel ou nao. Mas acho que ateh aih ninguem nega que a nossa vida fica melhor quando nos vestimos do modo que desejamos, soh nao eh tao facil de provar cientificamente.
Gostei de como o filme mostra bem os dois lados da moda, da paixão muito real das pessoas que trabalham com isso, e não ter feito nenhum personagem ultra superficial tipo o estereotipo que fazemos das pessoas que se importam com moda (e me inclua nesse grupo).
Agora soh pq tah facil "quotar" do Orlando, uma outra parte que se encaixa bem nesse papo de moda:
"And as she drove, we may seize the opportunity, since the landscape was
of a simple English kind which needs no description, to draw the reader's
attention more particularly than we could at the moment to one or two
remarks which have slipped in here and there in the course of the
narrative. For example, it may have been observed that Orlando hid her
manuscripts when interrupted. Next, that she looked long and intently in
the glass; and now, as she drove to London, one might notice her starting
and suppressing a cry when the horses galloped faster than she liked. Her
modesty as to her writing, her vanity as to her person, her fears for her
safety all seems to hint that what was said a short time ago about there
being no change in Orlando the man and Orlando the woman, was ceasing to
be altogether true. She was becoming a little more modest, as women are,
of her brains, and a little more vain, as women are, of her person.
Certain susceptibilities were asserting themselves, and others were
diminishing. The change of clothes had, some philosophers will say, much
to do with it. Vain trifles as they seem, clothes have, they say, more
important offices than merely to keep us warm. They change our view of
the world and the world's view of us. For example, when Captain Bartolus
saw Orlando's skirt, he had an awning stretched for her immediately,
pressed her to take another slice of beef, and invited her to go ashore
with him in the long-boat. These compliments would certainly not have
been paid her had her skirts, instead of flowing, been cut tight to her
legs in the fashion of breeches. And when we are paid compliments, it
behoves us to make some return. Orlando curtseyed; she complied; she
flattered the good man's humours as she would not have done had his neat
breeches been a woman's skirts, and his braided coat a woman's satin
bodice. Thus, there is much to support the view that it is clothes that
wear us and not we them; we may make them take the mould of arm or
breast, but they mould our hearts, our brains, our tongues to their
liking. So, having now worn skirts for a considerable time, a certain
change was visible in Orlando, which is to be found if the reader will
look at @ above, even in her face. If we compare the picture of Orlando
as a man with that of Orlando as a woman we shall see that though both
are undoubtedly one and the same person, there are certain changes. The
man has his hand free to seize his sword, the woman must use hers to keep
the satins from slipping from her shoulders. The man looks the world full
in the face, as if it were made for his uses and fashioned to his liking.
The woman takes a sidelong glance at it, full of subtlety, even of
suspicion. Had they both worn the same clothes, it is possible that their
outlook might have been the same.
That is the view of some philosophers and wise ones, but on the whole, we
incline to another. The difference between the sexes is, happily, one of
great profundity. Clothes are but a symbol of something hid deep beneath.
It was a change in Orlando herself that dictated her choice of a woman's
dress and of a woman's sex. And perhaps in this she was only expressing
rather more openly than usual--openness indeed was the soul of her
nature--something that happens to most people without being thus plainly
expressed. For here again, we come to a dilemma. Different though the
sexes are, they intermix. In every human being a vacillation from one sex
to the other takes place, and often it is only the clothes that keep the
male or female likeness, while underneath the sex is the very opposite of
what it is above. Of the complications and confusions which thus result
everyone has had experience; but here we leave the general question and
note only the odd effect it had in the particular case of Orlando
herself."
