# Frases definitorias del personaje An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 26 Feb 2024, 35 min. Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/58816050/lloviendo_frases_cine.mp3 En el programa de hoy de Lloviendo cine escucharemos frases de cine. Y esta vez sí, serán frases contenidas en los guiones y en las historias de una película. Pero no serán unas frases cualquiera, sino que tendrán la condición de ser definitorias del carácter de un determinado personaje. Serán frases que pongan a cada uno de ellos en su sitio y que en algunas ocasiones han entrado en el Olimpo de momentos inolvidables del séptimo arte. Y estrenamos sintonía. Las músicas del podcast proceden de: Pyotr Ilyich Tchaikovsky, CC0, via Wikimedia Commons Ludwig van Beethoven, CC BY-SA 3.0 , via Wikimedia Commons Musopen, Attribution, via Wikimedia Commons ## Transcript [0:26] No. You didn' t get the wrong show? Didn' t you [0:31] get the wrong podcast? This has been what our new tuning is going to [0:37] be. Take the new tune in every way, because here starts one more [0:43] show of your favorite podcast. I watch cinema to which you are all pertinent [0:48] and conveniently invited. You don' t need any kind of entrance. You [0:53] don' t need any kind of permission. The doors are wide open We [0:57] need to enter our new tune and what we have thought about talking about in [1:27] today' s Jovin do Cine program. Well, first of all, I [1:34] hope this new tuning will please you. We' ve composed it with all [1:40] our love. Well, in today' s Jovin do Cine show we premiered [1:44] fourth season, we premiered new tune. Let' s talk about movie phrases. [1:49] A few weeks ago we talked about cinema phrases, but not the ones [1:57] that we all had in mind, not those classique classics, films, very [2:04] cicsimos classics, not those unforgettable phrases of cinema, but those words of filmmaker [2:12] phrases said for that, filmmakers, by those directors, out of screen, [2:15] out of film, out of script those phrases that defined the way of seeing, [2:22] the way of understanding, life and cinema. Well, on this occasion [2:24] film phrases are coming, the phrases that are going to come to Jovin Docine [2:47] ' s show today, well, they don' t have to be one [2:53] of those unforgettable ones either. Well, there' s going to be everything, [2:57] but the sentences that are going to be s s s utterances on today [3:00] ' s show. Of this, watching cinema, we want them to be [3:05] clear examples of how you can define a character in a sentence, that is, [3:13] they are unforgettable cinema phrases or not, but on the condition that it [3:19] is clear how it is funny or how it is menganite. Look at the [3:24] tip It hardly comes out what that one said. On most of these occasions, [3:30] the defined character is not on screen. We could say that this character [3:37] is defined in offf without being present in the dialogue between A and B. [3:44] He talks about c but doesn' t tell him. He does tell B [3:49] and we' re getting on with too many technicalities now. Let' s [3:55] go with the first example of the program, the twilight of the gods, [4:01] Lord God to the North Vansmone apparatus, the unforgettable character played by Glorias Wanson. [4:10] Halfway through, between fiction, Halfway through, between self parody utters a [4:14] phrase that little trap defines itself or rather defines an entire profession. We already [4:26] know that the character of Norma Desmon is an old silent movie star coming, [4:32] not unless he came to the most absolute oblivion confined in that mansion in which [4:39] she believes she is going to shoot her last film. So what phrase does [4:46] Norma Desmond pronounce to define a whole trade, a whole profession. So look [4:53] at the data and we' re getting not too nostalgic anymore. Let' [4:58] s say the first one in English, because it sounds like the nicest squat [5:09] or that it could translate like no one ever stops being a star. That [5:15] ' s what makes that someone a star. Here we have the example of [5:21] unforgettable phrase, true phrase and phrase that defines. We already say not only [5:28] to one person, but to a whole way of understanding the world of spectacle, [5:34] applicable to demon rule, applicable to all those silent movie stars that I [5:40] have spent not so much time, fell into oblivion and, for example, [5:45] to all those stars that appear in Damien Chassell' s film Babylon. That [6:08] ' s where we leave a standard desmon prepared for the plan and we go [6:15] to a western to a film directed by Raúl Walls in the year nine hundred [6:19] and fifty- five, the implacable film that we have had the opportunity to [6:26] see recently and that we claim and that we recommend in the program of Hoite [6:30] and oviendo cinema a western in which there are everything, there are jeans properly [6:38] said, there are Indians there they are asking, there are cattle, golden [6:45] judges up to the desert of Utah, that it seems a great remedy of [6:49] monumment it is worth that we find ourselves in the implacable ones. We meet [6:50] Clar Gable, already his brother, played by Cameron Mitchell, who are no [6:55] longer outlaws, recently defeated from the civil war, are Southerners of pro Texas. [7:04] We' re not going to unravel the intrinsic of the movie. But [7:09] what could be called Clark Gable the good thief, because at a certain final [7:14] moment of the film, the character of Robertrya in the great Robert Ryan, [7:19] defines with a phrase Clark Gable. Clargable, which used to be said stan [7:29] v is not present at the scene and for you to see if he is [7:34] a good or bad thief. Robert Ryan defines him that way This is what [7:41] everyone dreams of being when he grows up and what every old man feels not [7:47] to have been what a beautiful way to define, in short, an antihero [7:54] hero if he wants to. But that Robert Ryan is the emulus, he [7:59] ' s Clark Gabor' s rival in the movie and how he earned his [8:05] respects. The rest of the story, the rest of the movie. We [8:09] ' re not going to say anything in between, one more that entertaining west [8:16] story. We demand the passage of Mr Raúl Walls. We went with a [8:37] couple of sentences or three until American black cinema, with the same actor, [8:43] with two characters and two authors and two different films among themselves, the actor [8:50] Amply Bogar, the two characters Philip Marlowe and Sam Spak and the two actors, [8:56] Reymond Chalder and dashal Hamet, and the two films, the Eternal dream [9:01] and the Maltes falcon few genres we will find in the world of cinema, [9:07] where the richness and nuances of each character will catch up in so much narrative [9:16] richness. In the Eternal dream, the masterpiece of Hogwart Rocks, it seems [9:20] that Hogward Hocks was not the director of the Eternal dream, for go ahead [9:24] if you see it. In that film Hanrey Bogar at the time Philip Marlowe [9:31] is pointed by a gun by one of so many villains who has American black [9:37] cinema and how the good Philip Barlowe, the good Hanry Bogar, reacts. [9:45] No one could say a phrase as it is to define the villain who has [9:52] so many weapons in front of him in the city and so few brains. [9:56] You know, you' re the second guy you see today convinced that with [10:01] a gun in his hand, he owns the world. We cannot find a [10:07] better way to define it together than, to insult more elegantly a black American [10:15] film villain who is threatening to take you to the eternal dream with a handless [10:22] gun or that other phrase. We already say that American black cinema is a [10:28] genre with rich characters of nuances. So, at a certain point in the [10:35] film Philip Marlowe pronounces these words to define in this case a teenager captain. [10:43] Your daughter has tried to sit on my knees when I was standing suspensive points [10:52] to felimate him a guy as honored as you can expect from a man who [10:58] lives in a world where that' s out of fashion. Filip marlow a [11:03] man who describes himself as being based, clean, shaved and serene, and [11:09] I didn' t care if it was noticed. It was all a private [11:15] detective should be. Mr Reymond Chandler, author of the novel and screenplay of [11:22] the film, credits for you second film, the Maltese falcon. The author [11:30] is not Mr Chandler, but Mr Dashel Hamet Hanfrey Bogar, not Philip Marlowe, [11:35] but Sam Sped film directed by the way, by John Houston in his [11:43] prima opera, that it seemed that it was not the first film directed by [11:50] Yohn Husto, because it was his first film. And what a great phrase [11:56] is remembered and adorns the end of this film as it defines in this case [12:03] not a character, but a great maccuffing like that alcon Maltes to that great [12:09] entelequia. Sam Space utters immemorial words is alco Maltes. It' s made [12:20] of the material that is forged in dreams, Mr Don Da and the Hamet [12:26] credits for you. By the way, you' re more of Sam Spade, [12:31] or more of Phillip Barlowe, you' re more of King Man Challer [12:35] or more of Dashel Jamet. And, since we' re with Jun Frey [12:48] Bogar, we' re gonna follow him to the White House. So if [13:07] black cinema lends itself to great phrases, we' ll say White House, [13:13] which is the movie phrase by Antonomasia. Well, with the White House, [13:18] we' re left with two defining phrases from Rick Blaine' s Hanfrey Bogar. [13:24] One is pronounced off and the other person to head with head theta tet [13:30] that the French say. The first of them never better said about the French [13:35] is said by the geno captain at that time, the magnificent actor. We [13:41] will not tire of saying it Cloud Rages, who in one of the most [13:48] controversial and far- fetched phrases have been made throughout the history of cinema, [13:52] says the Rick Blaine, who is the kind of man I would fall in [13:58] love with if I were a woman. The interpretation, you know the end [14:03] of the White House and that beautiful friendship. But if this definition, this [14:11] defining phrase, left in quite a good place the good Rick Play to the [14:16] hary Board boo, the second sentence that defines a character or in this case, [14:22] rather to a relationship between two people, it is called teatate and health [14:30] Arri Play, that is, inscribed Berman an freeboher. Here we don' [14:39] t know if any of the Rick Plaine comes out well standing because il saloon [14:43] is waiting in the face of his old lover replay that with so much a [14:50] second World War game involved, you only think about your feelings. A woman [14:56] hurt you and you want revenge on the world. You' re a weak [15:03] man and a coward, and by the way, tells him not to name [15:07] him Paris, that he won' t be on the right track. These [15:09] phrases are told to the tale of safe conducts. There' s someone still [15:16] out there who doesn' t know about this magnificent Macgufin, the safe conducts [15:24] and the intrahistory of why the White House plot really exists. Well, we [15:30] ' re assuming that maybe there' s someone who hasn' t already seen [15:37] or wanted to see a classic like the White House. We refrain from commenting [15:43] on safe conducts, phrases spoken in a manner of spite and the role of [15:50] fog in the end of the White House. Already put on classics, classismos, [16:11] so let' s go with Orson Wells and fellow citizen ok for example. [16:15] Man. We are putting clear examples of films that we all know, [16:21] although we are already seeing that some of these phrases are not one of the [16:25] most remembered, but they are there in the film and they are of those [16:30] that, once seen again, the same you say ah yes, that good [16:34] scene. In Citizen Game there are also defining phrases of characters, in this [16:41] case of the omnipresent, even if Charles Forster Key does not appear screen, [16:48] because Charles Forster Kane and it is something that we usually forget about. Define [16:55] the flashbacks. What is the story of citizen ok Bota comes to people closer [17:02] to family, friends and even some enemy to know who Charles forster Ke really [17:11] was, because we see him and we know him or we recognize him in [17:17] those flashbacks, which is the way the film is told. Each of those [17:22] flashbacks with a different view of history, as it goes at the fair, [17:26] would, by the way, be glories and vanities. And more than those [17:33] flashbacks. We know citizen Kane more by the acts contained therein. Definitive phrases [17:41] are rather silent gestures, they are laughter from ear to ear, that each [17:48] interviewee petts that journalist who wants to know who Charles Forterke is. But for [17:57] the rain of cinema, a person' s best definitional phrase. It' [18:03] s not about Mr Ki It' s not about Willian randol Hest' s [18:14] associates, but it' s about the Butler Of What, the character magnificently [18:22] played by Paul Stuart. And it' s a definition that gives itself in [18:26] the middle of the liquidation by demolition of Kane' s assets, the journalist, [18:33] a little bit already reassigned with Pol Stuart' s elusive answers from that [18:40] butler. He asks you finally, you are a sentimental and Paul Stuart, [18:48] defining himself perfectly with just three words and no epithet and no no noun, [18:56] answers yes and no. You came up with the idea, Mr Herman Mankevich, [19:07] or you came up with it on the fly. Sir, they' [19:11] re Wells, no. We don' t want anyone to make us another [19:18] movie so we can get the mystery cleared up better. We were enveloped by [19:22] the laura of all the mystery that envelopes this production to a film that, [19:29] by the way, no longer occupies the number one of the best films in [19:33] the history of cinema, according to the magazine Sant and Sam. And we [19:38] ' re going to give it there because we jump in the time of fifty [19:45] years to go with Bruce Willis. If we go with Bruce Willis and go [20:07] with the Crystal jungle year one thousand nine hundred and eighty- eight, not [20:12] just one of the best action- server movies, along with looking for the [20:18] lost ark. It would have these two films there as the best action film [20:25] of the 1980s we left there, but also one of the most fun films [20:32] in general of those years, which is seen in the action in the script [20:38] and in the dialogues. In short, or if you haven' t seen [20:45] the Crystal Junga yet, Bruce Willis has to rescue the hostages held in one [20:52] of the largest skyscrapers in the city of Los Angeles from kidnappers. At one [20:57] point Crul Willis communicates with that kidnapper, kidnapper who still doesn' t know [21:07] is spoiler alert, that there is an intruder who can disrupt their plans in [21:15] some hiding place of that scratch We' re not going to say how, [21:21] but both, without seeing each other, communicate with each other and the kidnapper. [21:26] He asks Bruce Willis, but who are you to which Bruce wille answers [21:30] only one drawback has one meddling a pain in the ass. I' m [21:40] not happy with it It' s a fine answer that Bruce Willis, the [21:45] good one from the kidnapper, has expressed. I ask him again, but [21:48] who are you? Another American who watched too many films as a child, [21:56] another orphan of bankruptcy culture who is believed to be John Wayne Rambo Marshall Dillon, [22:03] to which Bruce Willins responds for the one who had weakness was Roy Rogers. [22:11] I loved their sequined shirts. In this dialogue, by the way, [22:17] footnote. Marshall Dyllone was the protagonist of a television series set in The Wild [22:25] West titled The Revolver Law. Mr Frantino, it had something to do with [22:32] this series that for twenty years was broadcast in Antena with the origin of r [22:37] So once in Hollywood. What we say in that dialogue who you are. [22:44] We see a number of things. I' m the one who' s [22:48] gonna kick your ass. Bruce Willis defines himself, but how he does it, [22:55] because with the irony that a character played in acullos years by Bruce Willis [23:00] could only do it. But it' s just that, besides Bruce Willis, [23:07] or you' d better say Don John mcclaine. Apart from being that [23:11] pain of eggs, we see from that dialogue that is an ingenious guy funny [23:19] ta a little fantasized more than anything because his wife is among the kidnapped. [23:26] And we can' t say any more reasons to consider the Crystal Jungle as [23:33] the best fifty- year- old action film around, because look at that [23:40] later there were imitations. You know what you have to do with the word [23:47] " reject" and after Bruce Willis we leave, because we sing in the [24:06] rain. We wouldn' t want to put them in without questioning, but [24:11] you know he can' t, because enchanting in the rain. Let' [24:15] s not forget a satire. From the world of cinema, Mr Damián Chassell [24:21] and his babilon appear here again. There are a couple of characters that are [24:27] defined as passive and we will explain at the premiere of the last film starring [24:34] Jinkel' s character enchanting in the rain cinema within the cinema, reporters ask [24:42] him about his beginnings in the world of Seventh Art. Between what counts, [24:52] what answers and what we actually see in a flashback of what were real, [24:59] their beginnings differ very much from reality. Jankeley' s character is defining himself [25:08] is not telling the truth or rather is missing the reality of what counts to [25:15] what he really was going to be an abyss, which implies that this guy [25:22] is a card or that cinema is a lie, which becomes the central theme [25:29] of the film, as the other would say, everything is a lie. [25:37] That' s why we said that Jinkelley' s character is defined as passive [25:45] at the end and we see him also enchanting in the rain. The truth [25:49] comes out, as is often said, the trap always lies and we have [26:08] very little left. We' ve got a couple of movies left that he [26:15] shoots one of the other cents of the desert. There are in centa euros [26:18] of the desert in the masterpiece of john Ford definite phrases of Eithan Edwards. [26:23] Yeah, but they' re not gonna come to the listening program and raining [26:30] movies maybe in the future or if they' re going to come and we [26:36] ' re going to tell ourselves more here for now we' re going to [26:44] bring in one of the enough references, quite a few defining phrases that the [26:48] Comanches Indians account for in centa euros of the desert. In a scene of [26:49] it, John Wate and Than Edwards argue about the nature of the Comanches with [26:57] the great Wartboll Warver magnificently had a reverend and at that time, given Inthan [27:06] Edwards rivets a Comanche in a somewhat special way, with a couple of shots [27:14] in his eyes, the Warbon first reveals why he has wasted a couple of [27:21] bullets and or why he finishes the Indian with two more shots, to which [27:26] Ithan Edwards responds According to the beliefs of the Comanches. If you have no [27:34] eyes, you will not enter the land of spirits and you will wander forever [27:41] among the winds. It is curious, because this phrase defines Comanches, it [27:48] defines the way of seeing the life or afterlife of American Indians. But without [27:55] wanting it and much that Mr Edwards cares, he is defined to himself the [28:00] part of cruelty, of the personality of Ithan Edwards. But the shots go [28:07] around and never better said yes, but not here comes the second part of [28:15] the definitional phrase and this is already on behalf of john Ford. That rather [28:22] discussion within the mission in which Ithan Edwards is embarked on Centaurus of the desert. [28:30] We will not say what is the same in that mission, for there [28:36] are a few people, among them the character played by Han Worth, who [28:44] embodies a fool of Shakespeare who would say the literary tradition. Well, then, [28:49] it eradicates the importance of have Warden in this scene because we bring an [28:56] unknown theory actor as hand Warden, into Job' s today' s program, [29:02] because at the same time that John Way, who left in Ews, [29:08] has uttered those words, the character of have Warden as a good prolongation of [29:15] his master, accompanies those words by holding his hands in his eyes and making [29:22] with his finger the sign of denial double and quite graphically, the definitional phrase [29:30] takes on a double life. That' s staged Isa Wafer. Mr Director, [29:40] we would have to see if it was written in Franknuge' s script [29:47] that why we say that a masterpiece is a masterpiece, because precisely centaurs of [29:52] the desert will never lack arguments. And we' re going with the last [30:15] movie, not with the last Peter Bock Tanowich movie we could have made, [30:22] but we' re going to do it with a rocking Wanda. We' [30:25] ve already told you it was going to be the last two films that came [30:30] to today' s show of raining movie of shooting lomar. And why comes [30:36] a fish named Wanda with a phrase you' re going to see right now [30:41] is not that it' s especially relevant to the scene either. It' [30:45] s pretty droma, or we put it in position. It could all be [30:49] summed up as Kevin Kline and Jami Lee Curtis conspiring to give their particular theft [30:57] of the centuries. On the other hand, quite a few times the phrase [31:03] is said by the infaust Incauto, the former member of the Monty Python, [31:11] John Clis, and a click tells jemelicantes you are the most beautiful thing that [31:17] has happened to me in my boring, because what a phrase you say, [31:23] but the phrase perfectly defines the sad and boring life of John Clis. If [31:30] we set it up with a previous set- up game, before Jamil Lee [31:37] Curtis tries to get John Cliss, the one John cliss and say that statement [31:42] of love, before all that has been that set- up game, Kevin [31:48] Kline and Jamilly Curtis meet up, say mating like animals at zero and in [31:56] a delusional parallel mount, we see John Clee in his bedroom with his wife [32:04] Alfon and he cutting in a separate bed the durices of his feet. That [32:09] ' s when it' s especially relevant. John Clis' phrase is the [32:15] nicest thing that' s ever happened to me in my boring life. We [32:22] recommend the viewing not only of this scene, but of the whole film, [32:27] an absolute delight of comedy and up to here has arrived one more show of [33:01] your podcast, worito and ubino to the cinema with the novelty of our new [33:07] tuning, but that makes your totalaga and we have done it with ten films [33:14] have also come out, ten films that contained definite phrases on most of the [33:21] occasions of a character, although we have also seen that they defined perfectly Native [33:29] American hawks, even to some other star. They hope that the program has [33:36] been of your total pleasure. We do not fire you until next week, [33:38] which we will talk to you about a topic that, as always, comes [33:42] to mind in the coming days. Until then, we can only thank you [33:45] very much for your attention, much more for your patience and for making the [33:51] culinary recommendation. End of it all. Eight watching movies eat a lot of [33:54] bananas, which is very healthy. We can' t think of it better [33:59] outside the definition of it. And especially when you see heaven, you know [34:00] what you have to do. Find your extra cloud. We all have one [34:05] there, when confidence has already been established and conversation with her, you have [34:08] to tell her loudly and clearly what rains var ten Shows are listed from Apple Podcasts' charts and directory, and Podcast Index where it is used. Every show and episode belongs to its publisher and plays from the publisher's own feed; this site hosts none of them.