EricJ
-
Posts
4,879 -
Joined
-
Last visited
Posts posted by EricJ
-
-
3 hours ago, limey said:
Ok.... at the risk of getting myself a beating from the mods, I made the following
image for use by discerning multicultural movie fans.
Aha, we can say it if we forget the space bar and make it part of the NEXT word!
-
17 hours ago, Sepiatone said:
I mean, the original spelling of the title seems to "pass muster" for a Canadian TV show with NO big deal made out of it.
That's because it's a proper name, and thus disqualified from Scrabble.
-
On 4/18/2018 at 6:22 PM, Sepiatone said:
A TV ad for a local run of the musical WICKED makes the claim-----
"The true story of the witches of Oz!"
??????
WHAT "true story?"
It's not even L. Frank Baum's story--
The musical, and the Gregory Maguire book, come from that (ahem) section of people that utterly believes the MGM movie is the beginning and end of Oz canon, ie. that Glinda--who was merely grandmotherly in Baum's book--was a twittering birdbrain who sounded like Billie Burke's "Oh, well, I'm a little muddled!" star-vehicle shtick.
It starts from that mistake, and goes from there.
On 4/18/2018 at 6:40 PM, Dargo said:Well Sepia, evidently YOU'VE never been conked on the head by flying debris stirred up by a passing tornado as it flew past your home, huh!
Reminiscent of the SNL sketch where Glinda helps Dorothy to return back to Kansas by telling her to click her heels three times and say "There's no place like home", and then, while she does, whacking her over the head with a 2x4.
-
1
-
-
1 hour ago, LawrenceA said:
Superman (1941-1943) - 17 animated shorts from Paramount Pictures, Fleischer Studios and Famous Players. This is a series of cartoons, running between 8 and 11 minutes each, depicting the adventures of the comic book superhero Superman, his alter ego Clark Kent, and intrepid fellow Daily Planet reporter Lois Lane. In the first 9, produced by Max Fleischer's animation studio and directed by his brother Dave, Superman battles everything from a giant circus ape, to bandits called the Bulleteers, a thawed-out T-Rex whose rampage resembles that of Godzilla only 12 years earlier, a Native American trying to reclaim Manhattan island by electrifying the Hudson river, and, in the Oscar-nominated first installment, a mad scientist and his death ray.
And, of course, battling mad scientists' flying Mechanical Monsters, probably the best-known short, that was a confessed influence on Japanese animator Hayao Miyazaki, director of "Castle in the Sky", and a few episodes of the "Lupin III" TV series:
QuoteThe first set of shorts are fantastic, real works of animation art, with a unique look and effective, bare-bones storytelling. There is little dialogue, and the emphasis is squarely on the visual. The second set are noticeably inferior in quality, and the wartime propaganda feel lessens the entertainment,
Famous was definitely a slip down in quality, not only when they fired the Fleischers, but moved the studio out of gritty NYC to sunny whitebread Florida.
A change noted when Popeye went from B/W to color after WWII, and Casper would only come later.
-
Wait, is the girl figure supposed to be Cathy? The face sure looks like Lina.
-
On 4/15/2018 at 11:48 AM, LawrenceA said:
I'd recommend The People vs Larry Flynt. Ragtime has its moments, and I'd recommend to classic movie fans just for the cast. Of his pre-US movies, I've seen The Loves of a Blonde and The Firemen's Ball, and liked them both.
Ragtime is good if you've read the novel and wondered how it could ever be adapted into a narrative movie (and for being Randy Newman's first big "serious" score)--It's just as production-opulent for new folk who only know Forman from "Amadeus", but be warned, it was an important component, along with "Reds" and "Pennies From Heaven" in creating that legendary 1981 "Most Depressing December-Movie Season In History".
People/Flynt and Man on the Moon are both serviceable celebrity-dressup bios, and appeal to Forman's anti-authoritarianism, but Larry Karaszewski had pretty much sank into a rut for pop-bio films after "Ed Wood", and could write them in his sleep for most of the mid-90's. Despite Jim Carrey's, er, too enthusiastic imitation, "Moon" is an example of said sleepwalking, although Woody Harrelson in "People" does help flesh out (NPI) some of the backstory behind Flynt's big Jerry Falwell suit.
-
8 hours ago, cigarjoe said:
8 Million Ways To Die (1986) L.A. Smog Noir
Matthew 'Matt' Scudder: Yeah, there are 8 million stories in the naked city. Remember that old TV show?
Dave Addison: There are 8 million stories in the naked city...Right now, let's be two of them.
- Bruce Willis to Cybil Shepherd, "Moonlighting"
-
14 hours ago, LornaHansonForbes said:
So what with it being Friday the 13th and the world being SO hopelessly messed up,
QuoteI just felt a strong craving this afternoon to watch something NUTS from the 70s.
There were so many movies from the 70's I was Too Young To See, even when I was alive to remember them being in other theaters, I've now become hooked on getting one recommended daily allotment of Gritty 70's Golden Age in any weekend blitz of old movie rentals I take out. Just got through Godfather II on Netflix, and took out Network (yes, another movie I only know from random bits without the whole) from the library.
(I only had one semester in NYU during the early Koch-era '82-'83 , and sentimentally consider the days of gritty pre-Giuliani NYC as "my" past, even though I was never there for the real-life '71-'77 fun as depicted in the Martin Scorsese and Sidney Lumet movies.)
Having run out of Oscar movies, and into mass fare, I'm now starting to eye those copies of The Warriors and Carrie that have surfaced on HuluPlus...Amazing how many movies you can quote that you've never actually seen.
-
1
-
-
8 hours ago, jakeem said:
Director Miloš Forman collaborated with the renowned dancer and choreographer Twyla Tharp in three of his films. In addition to her contributions to "Amadeus," she choreographed the filmmaker's screen adaptation of the 1960s counterculture musical "Hair."
When people quote Hair, pretty much the ONLY scene anybody ever shows is the Aquarius opening. There's a reason why it seems to be the single only four minutes anyone remembers from the movie, apart from maybe the title number.
That may be because Forman's directorial career was so in love with praising the Independent Troublemaker--like Mozart, Larry Flynt and Randall McMurphy--when the Hair hippies stop singing and go into the musical's book dialogue, Forman deliberately goes out of his way to show our characters, and arguably all of the 60's Hippie movement, as just a band of antisocially parasitizing, well, jerks, who knew how to spin trendy-sounding arguments for their own indulgent socially-relevant licenses to **** society off. Forman keeps cutting away from the musical numbers to show us poor suit-and-tie Establishment dweebs (or horses) happy and amused by the sudden public bursts of free-spirited individuality, but as a whole, Joe Friday couldn't have done a more effective historical deconstruction of the Movement's hollow, hypocritically over-concocted image. If there are any of the characters you like in this scene, Forman will make double-sure you loathe and despise them by the last reel. (Just out of curiosity, what were the "Book issues" that David Poland tweeted about?)
As for Amadeus, looks sadly like we'll never get that un-ruined Theatrical Cut on Blu-ray, without Forman to stand up for it.
(He certainly threw enough restoration-issue tantrums when Cuckoo's Nest was shown on TV with commercials and without widescreen.) Screenwriter Peter Schaffer wanted Salieri's motive to be about Catholic sex-guilt, and wrote Elizabeth Berridge's nude scene in, but Forman wisely knew to keep it all about the music, and its giggling shock-the-system imp of an artist.
-
12 hours ago, TomJH said:
One of my favourite Hardy moments occurs whenever he is about to chase someone (usually Stan). You see his face grimace but before he actually starts actually running after him there will be a two second stationary moment in which Oliver's legs pump up and down on the spot, almost like he's revving himself up to go.
It's a minor example of what cracks me up watching Hardy, in that they both had to develop their characters in silents, and he had to establish his big "elegant" moves of his comic character in pantomime first--
And even in sound, he still couldn't put something down on the table without that extra little "there!" gesture to let us know he did it, over-react "Ohh-hohh-hohh!" when he got hurt, or tell off Stanley or the antagonist without that little extra "So there!" nod at the end. Even in The Music Box, as they're finally unpacking the player piano and playing it as they clean up, watch as he runs his delicate little fingers over the top as he walks to the other end.It established Ollie's character as just doing everything large, because he thought he was a respectable man-about-town in doing it, and perfectly complemented the other half of the duo's lovable dimness.
But Hardy, as pointed out by Eric, was also a surprisingly graceful dancer when the opportunity arrived, as well as a pleasant tenor.
And although the Way Out West clip of our duo dancing to the Gap Band has been ushered into the YouTube Hall of Fame for nearly a decade now, the two proved themselves to be versatile to a wide variety of music and dance styles:
-
1
-
-
The Broadway Melody (1929) - Not the '33, '36 or '40 one, since I'd found the disk at the library, was curious about its Oscar pedigree, and wanted to see the earliest talkie musical that was on classic disk. (And also because I keep confusing it with "Hollywood Revue of 1929", and couldn't remember in which one Cliff Edwards first sang "Singin' in the Rain".)
It's probably best remembered as MGM's first talkie, and first talkie Best Picture, which it won for the novelty, but...that's about all it can be remembered for. It was reportedly also released as a silent, for non-upgraded theaters, and you can see the directorial style still rooted in silent films, complete with silent-style intercards explaining the change of scene. Otherwise, the backstage story comes off as corny to the point of non-existent (a sister act is almost broken up when one of them falls for a charming cad), and although most of MGM's classic Arthur Freed & Nacio Herb Brown songs were introduced in the Broadway Melody series--the cad wins the girl over by singing "You Were Meant For Me"--it's hard to listen to them without flashing back on their Singin' in the Rain equivalent. (Quick, what springs to mind when we see a big production number for "Wedding of the Painted Doll"?--"It's a holiday, today..."
) But if Warner became the studio we associate with gritty backstage 30's-musical stories of struggling chorus girls, MGM just didn't seem to have their heart in it: The dialogue is painfully trying to be Depression-era city-talk, and you never heard so many "Gee, you're swell" lines in romantic dialogue before. It's hard to keep a straight face when Bessie Love, as the spunkier born-trouper of the sisters, dares our hero to go and fight the bad guy for the girl--"You're yellow!"--and after he goes off newly inspired, sobs, "Oh, Eddie, you're not yellow...You're white!"
As for the musical numbers, if Busby Berkeley is often kidded for "Musical numbers that would never fit on any stage", early-talkie musicals before him had numbers that fit EXACTLY on the stage: The camera would be statically planted in the mid-orchestra, to give us a virtual theater seat and show us a big wide glimpse of the entire stage of scenery and girls from a distance, and basically concert-transcripted groups of stage chorus girls that seemed a bit less co-ordinated or synchronized than more polished later Hollywood musicals would give us once they learned how to make their own.
The static "in-concert" style from 1929-32 reportedly almost killed early talkie musicals at the box office, until Berkeley's "42nd Street" legendarily let its cameras unleashed, and the rest is history.
-
2
-
-
1 hour ago, TomJH said:
Unlike yourself, Lawrence, I'm a fan of Laurel and Hardy. But it's primarily based upon the best of their comedy shorts (both silent and early talkie), rather than their often all-too-padded feature films. Many would say that the best thing the boys ever did were short subjects like Big Business (in which they were Christmas tree salesmen in July destroying James Finlayson's home in t i t for tat fashion as he destroyed their car and trees) and The Music Box, in which they had to lug a music box up a very long flight of stairs (those concrete stairs are a tourist stop for many L & H fans today).
Of their feature films most regard Sons of the Desert and Way Out West as the best of their careers
That's a fair assessment, both of the shorts and the features--
Unlike the surreal synchronized choreography of the Three Stooges, L&H's slapstick was often "t*t for tat", that just kept back-and-forth one-upping its own immature wounded-pride slaps or smashes until things got classically silly, and Big Business just throws out the plot and takes it all the way. And The Music Box, of course, is considered the funniest American comedy short ever made, even beating out Chaplin, the Stooges, or WC Fields' "Fatal Glass of Beer".
Sons of the Desert is probably the most "essential" L&H feature for their characters, while Way Out West has their talent for musical numbers--Most first-time fans are often surprised just what a good dancer and singer Ollie could be when given the chance.
(Me, I became an L&H fan after learning that Stan Laurel wrote most of their gag material, and in the 30's, it was almost revolutionary to see Stan creating "Minimalist humor" by just doing some strange bit of comic business with absolute earnest focus for a whole minute of screentime, while Hardy expresses the audience's frustration and impatience with looks of "...Mmff!!" Like Chinese Comedy Torture, only done with perfect timing.)
-
5 hours ago, Fedya said:
Some years back there was a contestant on Who Wants to Be a Millionaire who got a question something like, "The novel As Time Goes By tells the hypothetical story of what happened to Rick and Ilsa after the end of what classic movie?"
The contestant looked at the answers, said, "I know there was an Ilsa in The Sound of Music, so I'll say The Sound of Music, final answer."
Oops.
Although legendarily not the worst goof on Millionaire--For $500,000, and a shot at the final:
After using a 50-50, the contestant naturally chose A, final answer.
-
On 4/9/2018 at 9:26 AM, scsu1975 said:
No. Same thing happens with Robot Monster, and that film is only 66 minutes long.
If you look up The Moonlighter on IMDb, you'll see that it, like Robot Monster, was shown in 3-D, and 50's 3-D of any feature length needed an intermission, since it took longer than usual to set up projectors for the second half.
(Yep, the things you learn when you've got a Playstation, a 3DTV, and rent the restored Kino Lorber disks.)
-
1
-
1
-
-
1 hour ago, Stephan55 said:
And I personally can't remember seeing any of the Pepe Le Pew cartoons on TCM. If I did, it may have been back around 2003, or so?
Was just assuming they'd mostly dip from the Oscar-winning Warner and MGM animated shorts for the month, and "For Scent-imental Reasons" was one of the only three Warner Looney Tunes to get the Oscar.
(The other two being "Birds Anonymous" and "Knighty Knight Bugs".)
-
4 hours ago, Bethluvsfilms said:
I just hope TCM doesn't go the way of AMC and abandon its studio era-film formats (with the occasional 70's, 80's, 90's, 2000's thrown in there to put a little balance in there).
Well, we're sort of missing the point that AMC went that way because of TCM.
No one's starving TCM out when they own the refrigerator, and they've already got enough of a DVD market with the Warner Archive that they don't need to start producing "Original Programming" to sell with their name on it, like AMC, Starz and Showtime did to fill the void and pay the bills.
-
How many live/animated Oscar-winning shorts DO they show as filler during 30 Days?
Have we seen "De Duva"? "The Critic"? We can assume TCM's already shown the Oscar-winning Tom & Jerry and Pepe Le Pew cartoons that Warner owns to begin with, and MGM's "Peace on Earth" up to our eyeballs.
-
On 4/6/2018 at 12:19 PM, Bogie56 said:
Saturday, April 7
10 a.m. Popeye: Seasin’s Greetinks! (1933). Can’t go wrong with Popeye on a Saturday morning.
Looks like they're going through the Popeyes in chronological order, but they don't really pick up as iconic toon classics until Jack Mercer takes over the voice in King of the Mardi Gras and The Spinach Overture in 1935.
-
1
-
1
-
-
20 hours ago, limey said:
At least Mononoke's US release wasn't butchered in the manner Nausicaa suffered and the US audience seemed to go out and buy the former's DVD release in pretty reasonable numbers.
Not to go too far off topic, but that's another example of how Disney tried to "bury" US Ghibli films after Mononoke's disaster before Spirited Away rescued the brandname:
Toho's restrictions on Disney/Miramax's eventual DVD version forbid the Japanese audio (again, to prevent someone else selling their own product ahead of them), and Miramax initially released a Mononoke disk with the theatrical dub only. Back in '99, DVD fans believed Anything Eisner-Era Disney Did Was Evil--and that they'd clearly made the Ghibli deal to "silence their competition", so innocent US animation fans would never suspect anything other than Disney existed
--and reacted across the fan-ether Internet as expected.
Unlike the imaginary fanboy-petitions of Change.org (and this may, in fact, have first started the practice), Disney tried to meet but blow-off the criticism, and pull another Warner by painting the collector audience as a vocal niche-minority, by commissioning a real write-in snail-mail fan petition to Buena Vista HE to see how many fans would buy (emphasized) a dual-language DVD if Miramax released one instead. There was only a month for responses, and according to the anime representative who eventually met with Disney to produce the results, the Disney rep realistically expected 500 letters, but was met with a crate of 5000 instead. Oh, and: "That's just the first box, we've got nine more in the car."
-
1
-
-
16 hours ago, limey said:
Whilst there's some truth to this with respect to how the film entered into the consciousness of anime watchers of the time, a major reason for it's 'cult-dom' is the unrelenting, yet thoughtful way that it's story is portrayed. Although it's visually rich, it's by no means an easy film to view, especially if you don't have an idea of where the story is going to go in advance. It's certainly not an easy film to forget.
The evangelism of the '96-'99 rise of US anime was to tell newbies how serious! and extreme! anime was compared to US animation. (This, as our fatigue with 90's Disney movies was starting to turn into rumblings of mutiny against Michael Eisner, Disney-wannabe musicals were a national annoyance, and those who'd "fled" US animation considered themselves the elite.) For example, you couldn't just find a nice series like Ranma 1/2 or Tenchi Universe on mall Suncoast shelves, you had to earn your baptism by fire watching the classics like Akira and Ghost in the Shell, or the punishingly "mindbending" challenge of Neon Genesis Evangelion!
Hence there were a lot more over-devoted fans browbeating poor innocent folk that they "had" to watch the unrelenting wartime tragedy of Fireflies first, even though early dubs of Miyazaki's much less punishing "Kiki's Delivery Service" and "My Neighbor Totoro" were soon just as available on VHS.
QuoteThe principle reason for Mononoke's lackluster theatrical returns was probably down to the usual issue of the US right's holder not really knowing how to market a non-domestically produced product. In terms of product quality it's one of the few really successful anime dubs ever made.
Save the "Probablys", we KNOW what went wrong with Mononoke--And if it hadn't been for Spirited Away getting the Oscar almost three years later, it would have stayed that way:
Studio Ghibli's parent company Tokuma, and Toho Studios, were celebrating their deal with Disney to import the Ghibli films to the west, and Mononoke was just getting headlines for becoming the all-time hit in Japan, so Tokuma included a clause in the deal that Disney give Mononoke a theatrical release. Naturally, there were "bragging rights" for cheap publicity back home in the deal, but it was later suspected that Japan didn't have an emerging DVD market yet in '99--VHS's were only for rental, and Laser hadn't lost popularity--and didn't want to risk "reverse importation" of Disney making a better DVD than Toho could yet, if Disney decided not to theatrically release it. (The deal was for the older movies to be released direct to video.)
Problem is, it had only been two years since their Kiki VHS, Disney was still unsure whether their market would take off with US audiences, and...hoo-boy. How do we put this?: Of all Hayao Miyazaki's movies, Mononoke is NOT the one you show to an unsuspecting mainstream audience that has never seen any in their lives except for Kiki, The Castle of Cagliostro, and maybe Fox's Totoro dub...Which included Disney's execs. Not to mention, even in a limited arthouse release, the movie didn't attract audiences by being uncharacteristically dour, cliche'd and preachy (the story is basically an exact rewrite of "Nausicaa of the Valley of the Wind", only with no likable characters) and Disney tried to distance themselves from the disaster by pulling a Warner, and saying "Oh well, TOLD you the US audience wouldn't go for it!
"
QuoteAlthough describing a potential audience as clueless, isn't probably going to encourage them to actually go and view your suggestions, the fact remains that they are very good selections & illustrate the range of story & art styles that Takahata was associated with.
I was being ironic, to suggest that a few folk here might not know Ghibli feature anime yet (I try not to overuse the smileys), but yes--Fireflies and the sentimental but uneventful slice-of-period-life "Only Yesterday" mostly put me off Takahata's movies, but Princess Kaguya is an amazingly good anime feature, even for those who won't watch anything but Miyazaki's. Mostly for all the "artsy" visual reasons named in skimpole's quoted review, but also because Takahata's version set out to deliberately flesh-out the folktale character, who comes off a bit too icy, spoiled and snotty in the original tale, and uses his taste for slice-of-life realism to show us the "other side of the story" and give us a uniquely real and sympathetic girl.
And Yamadas, of course, is just too cute, as if a Japanese Charles Schulz had written it. Try to see it with the English dub, where Jim Belushi and Molly Shannon are perfectly cast as the suburban Mr. & Mrs. Y setting out on their "bobsled" of parenthood.
-
1
-
-
On 4/6/2018 at 7:54 AM, Sepiatone said:
Although it is sad news for his fans and family, all I can say is that I always thought "Japanese animation" was an oxymoron.
-
2
-
-
7 hours ago, LawrenceA said:
Star of the Week: Leslie Caron
- An American in Paris (1951)
- The Man with a Cloak (1951)
- The Story of Three Loves (1953)
- The Glass Slipper (1955)
- Gigi (1958)
- Austerlitz (1960)
- Fanny (1961)
- Chandler (1971)
Great: Instant Archive joins the big service, and I still don't get a chance to see Lili (1953)
Had to go and rent that one from the library last week, that one always seemed to slip through the cracks of the Great MGM Musicals--I'd never even heard of it until it showed up with a group of MGM Kids' Matinees in the 70's, and even then I didn't get to see it.
-
8 hours ago, speedracer5 said:
I used to watch AMC back when Bob Dorian used to host. I remember watching Laurel & Hardy reruns with my dad on Saturday mornings. I also remember Marx Brothers at some point. I believe AMC used to show all the Marx Brothers movies on New Years Eve?
I remember somebody used to have an all-Marx New Year's Day marathon, but couldn't remember who. While in Boston, New Year's Eve was by tradition reserved for the Three Stooges, on WSBK-38.
Both are traditions I still uphold, even without AMC, free-commercial TCM, or local channels to watch the Countdown.
-
32 minutes ago, skimpole said:
However, most consider the 1988 film Grave of the Fireflies, a moving tale of two orphans during the second world war, to be his best work.
Originally, Hayao Miyazaki was trying to sell the hard-to-describe story of My Neighbor Totoro, and mentioned its happy, nostalgic postwar-50's setting. Accdg. to stories, most Japanese distributors couldn't get their heads around the idea of a happy postwar Japan, so Totoro was played in a double feature with Takahata's tragic, historical saga of deprivation in Fireflies...
To give you some idea, imagine a Spielberg double-feature of Schindler's List and The BFG.Although speaking as an early 90's anime fan, most of the "You must see Grave of the Fireflies!!" cult-dom is actually buried DNA memories of the days when this was the only Studio Ghibli film to make it onto VHS (only "unwanted" art-features and culty direct-video OVA's could make it over in the early days, because the distributors wanted to get rid of them and they could be licensed cheap), the rest were either impossible to get or Disney was stubbornly sitting on them after a bad experience with Miyazaki's "Princess Mononoke", and we thought we'd never see another Ghibli film subbed or dubbed in the US in our lifetime. We're living in better days now.
Any clueless Americans who want to get a better taste of Takahata would do well to start with "Pon Poko", the traditionalist Japanese art of "The Tale of Princess Kaguya", or the comic-strip humor of "My Neighbors, the Yamadas":
The FilmStruck Thread
in General Discussions
Posted
I was wondering whether anyone was going to comment on the recent Twitter-fire all over the Internet since last Tuesday--
When Filmstruck's Twitter account, innocently thinking they were starting another Twitter "chain-letter" challenge like that ice-bucket thing, to "Name four favorite movies and challenge four friends to name theirs", and #FilmStruck4 started becoming a keyboard-and-graphic-posting addiction for three days. Naturally, that bit of burped-at-the-table attention started creating Post-4 challenges for "Comedy", "Horror", "Cult", "World Cinema", "Describe yourself", etc., and by nighttime, it was happily out of control.
https://twitter.com/FilmStruck/status/986228505884098560
I wasn't aware the non-Criterion mainstream-Warner half of Filmstruck had been corporately TCM-branded--after Warner stopped trying to go it alone and folded the Instant Archive service where most of the 30's-50's classics and unwanted Paramount/MGM disk titles had been exiled anyway--but with every Twitter post now saying "Thank you, Filmstruck!" (or sometimes "Thank you TCM and Filmstruck!"), is anyone else worried that it's creating too much of a cult-of-personality for the service?--A sort of "I'm watching great movies on Filmstruck now, now that stinky old Netflix won't show me anything anymore!"?
I was worried it was creating too much of the same private "Chablis" image of the 70's Woody Allen days, when only the uptown intelligencia knew the classics while everyone else stuck to TV and laughed at the "Late show"--The same problem with TCM basically monopolizing most movie-broadcast airing to expensive premium cable. And seeing the initial honeymoon burst of newly enthusiastic fan loyalty/sycophancy after "regular" movie classics started showing up on the formerly all-Criterion channel (and suspecting the good and the bad of where most of it was coming from), I was hot under the collar enough to start reviving the blog:
http://movieactivist.blogspot.com/2018/04/will-you-accept-this-flower-from-holy.html