Ahso......you see seven movies, and you've seen them all.  Saves wear and tear 
on the optic nerve.

Writers who believe there's only one plot argue all stories
"stem from conflict." True enough, but we're more inclined to back
the theory mentioned about only seven basic plot lines.

 

According to the Internet Public Library, they are:

 

[wo]man vs. nature

[wo]man vs. man

[wo]man vs. the environment

[wo]man vs. machines/technology

[wo]man vs. the supernatural

[wo]man vs. self

[wo]man vs. god/religion


Ronald Tobias, author of "Twenty Basic Plots"
believes the following make for good stories: quest, adventure, pursuit,
rescue, escape, revenge, riddle, rivalry, underdog, temptation, metamorphosis,
transformation, maturation, love, forbidden love, sacrifice, discovery,
wretched excess, ascension, and decision.

 

Overlap must be common under this theory. For example,
"Rocky" is a story of the "underdog," who goes through a
"transformation" and falls in "love" while on a
"quest." We're not sure, but we think "Dude, Where's My
Car?" touches on at least 16.

 

So are there really a limited number of stories? Maybe,
maybe not. One thing is for sure, though -- writers will always find new ways
to make 'em interesting.
--- On Sat, 3/27/10, [email protected] <[email protected]> wrote:

From: [email protected] <[email protected]>
Subject: Re: [MOPO] Kubrick's favorite film
To: [email protected]
Date: Saturday, March 27, 2010, 9:48 PM



 
 

you were watching Letter From An Unknown Woman on 
TCM   I heard the same thing.   Have to say you see one 
Ophuls film and while all masterfully done (especially Earrings of Madam 
De)  you've kind of seen them all........beautiful women with fucked up 
men.
 
freeman fisher
 

In a message dated 3/27/2010 9:32:48 P.M. Pacific Daylight Time, 
[email protected] writes:

  
    
    
      
        le plaisir---ophuls---7---dir2
        

        of course it had been seen in MX;  of course we 
        have the lobbys
        

        

        

        IMDB:
        It has been rightly claimed that, between 1945 
        and 1955, Max Ophuls was the greatest director in the world, crafting a 
        string of dense pearls unmatched before or since. Even 'Le Plaisir', 
        supposedly a minor film in his canon would be a staggering masterpiece 
        in anyone else's.

A triptych of Guy de Maupassant stories, it is 
        also about a trio of Gods. The first two are shown to be limited: 
        Maupassant, author, creator, narrator, speaks to us from the darkness, 
        disembodied, all pervasive ('I could be sitting next to you'), 
        responsible for everything we see - in the last story he crashes down 
to 
        earth, and is responsible for a suicide attempt; and Ophuls' camera, 
        seemingly weightless, able to navigate space with a freedom unavailable 
        to humans - even it is barred from Madame Tellier's Establishment, 
        forced to peek in from outside. It can reveal the bleak reality behind 
        the prostitutes' gaiety, but is has no access, like the men who exploit 
        them, to their souls.

Or does it? The stunning epiphany at the 
        church, is, after all, on one level just a trick of the camera, or a 
        mere figment of the women's imagination. As we would expect, the 
        camerawork, composition, decor, music and acting are breathtaking and 
        ambiguously nostalgic; what is more remarkable is the magic sense of 
        nature, so rare in Ophuls, and, with the exception of the Archers, King 
        Vidor and Lynne Ramsey, so rare in cinema.
        

        ---courtesy:  Alice Liddel 
         from dublin, 
        ireland
        

        

        

        

        
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