The Predatory Female

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Lawrence has earned his Bachelor of Arts in Philosophy with a minor in Business Administration from the University of Houston, a Master of Theology (ThM) degree with an emphasis in Pastoral Leadership, and a Doctor of Ministry degree in Leadership from Dallas Theological Seminary.

Men on Strike: Why Men Are Boycotting Marriage, Fatherhood, and the American Dream - and Why It Matters, by Helen Smith Struggling emotionally, Shannon tries to manage his tour party, who have turned against him for having sexual relations with the minor, and Maxine is interested in him for purely carnal reasons. Adding to this chaotic scenario, spinster Hannah Jelkes appears with her elderly grandfather, Nonno, who, despite his failing health, is composing his last poem. Jelkes, who scrapes by as a traveling painter and sketch artist, is soon at Maxine's mercy. Shannon, who wields considerable influence over Maxine, offers Hannah shelter for the night. The play's main axis is the development of the deeply human bond between Hannah and Shannon. spouses) and 10 grandchildren. Steve is also survived by his brother Christopher. He was predeceased by his parents Russell and Jean and his brother Richard. The film won the Academy Award for Best Costume Design (B&W), and was nominated for Art Direction and for Cinematography (by Gabriel Figueroa), as well as for Hall's performance. I hadn't previously known about Grayson Hall, who portrayed the thankless role of Judith Fellowes, a sexually repressed woman who is Sue Lyon's chaperone. She's called a witch, and she acts like one. (However, when you think about it, Sue Lyon did, indeed, need a chaperone.) Hall was so good in the part that she was nominated for an Oscar for Best Supporting Actress.A Streetcar Named Desire (1951)—The ultimate T. Williams vehicle, story of faded beauty Blanche Dubois (Vivien Leigh) and the kindnesses of strangers it elicits. She moves in with her ‘commoner’ sister Stella in New Orleans and has to contend with Stella’s brutish—albeit almost heroically practical—husband Stanley and other men. Despite its excesses and almost-paranoid attitude, this book can be considered an useful counter-balance to the "blue-pill" mainstream depiction of women, as mostly loving and selfless creatures. If you're a man and don't know (or understand) much about women, have a read and discover women's "dark side": it won't be pleasant, but it could save your bacon along the way. The characters in this film are all rather worn and beaten, physically tired from the Mexican heat, and mentally drained from life's burdens, as desperate as a captured lizard at the end of its rope. And therein lies the film's theme: to accept one's station in life regardless of circumstances, to cease struggling, to endure the hardships, and be on the "realistic level". The author seems to give outright opinions without any justification or possible counter arguments or anything like that. I'd have appreciated if the arguments were historically derived (why women are like that, why they do that, etc.), up for discussion and properly justified.

Stampalia, Giancarlo (2020). Adamant: the life & pursuits of Dorothy McGuire. Orlando FL: BearManor Media. ISBN 9781629335544. So there was an article on Return of Kings about this book, written by the Reverend Lawrence Shannon. It's sharp, hyperbolic, the distilled essence of everything Rollo Tomassi, MGTOW and others are saying, so much so that I began to wonder if all the Manosphere theorists who weren't PUAs or Married Men were just re-cycling it. It was first published in 1985 and has been re-printed since, but not since 1997. Deep and thought provoking film about life death and the what it's, existence, all about with Richard Burton giving one of his most penetrating performances as the mentally unstable and suicidal Rev. Lawrence T. Shannon. Shannon who was on the brink of killing himself but saved from drowning by Maxine's Mexican beach-boys, Pepe & Pedro, finally got it right from the just about gone, on his death wheelchair, Grandpa Nonno. So major treat in store for those questing for enlightenment: the character Hannah. Other features: Ava Gardner plays a brave role as a woman falling to the dim side of appeal to men, just as her femme fatale star was dimming in 1960s Hollywood. Burton is fantastic, playing his part with uncharacteristic humor and nerve; he, too, like Hannah, has a special sensitivity to the universe, only his is buried under an addictive haze. He expresses the theme of the movie best, as he frees Maxine’s iguana: “I just cut loose one of God’s creatures from the end of its rope.” Did Hannah do the same for him? Absolutely one of the best creations ever. Huston’s direction is transcendent.

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As you would expect for a Tennessee Williams' creation, the film is very talky. The B&W cinematography is fine, but it would have been even better in color. The vegetation is lush; and we hear the sounds of tropical birds and the ocean surf. All of which makes for a tropical paradise, human iguanas notwithstanding. The Night of the Iguana is a stage play written by American author Tennessee Williams. It is based on his 1948 short story. In 1959, Williams staged it as a one-act play, and over the next two years he developed it into a full-length play, producing two different versions in 1959 and 1960, and then arriving at the three-act version that premiered on Broadway in 1961. [1] Two film adaptations have been made: The Oscar-winning 1964 film directed by John Huston and starring Richard Burton, Ava Gardner, and Deborah Kerr, and a 2000 Croatian production. The pivotal and most crucial part of this film is the conversation between Lawrence and Hannah. The former is in the throes of a nervous breakdown, the latter has survived and endured through the same. They are kindred souls that aid one another through the therapy of human connection, of empathy in the long, lonely walk. It is in this conversation that Tennessee Williams explores the issues make this film so important: through his characters, who are throughout depicted not as mere shallow cliches but individuals with histories and feelings that run deep, with subtleties that bring them to life, he meditates upon the struggle to find meaning in one's life, the need for companionship, the importance of compassion, and the way in which people endure, all the time grasping at what dignity they may have, and which may be forever threatened by trials, doubts and pain. These are not issues that date, that diminish in relevance, or that relate only to certain people - they are concepts that are universal, that speak to each individual and relate to fundamental facets of the human mind and spirit. Especially in the production values, like the superbly moody photography, there is a great deal of polish on display. Yet not too much polish at the expense of everything else. Personally did think there was flesh and blood here in the character writing and more of the play's full impact, especially when compared to other Williams film adaptations made in the 50s and 60s. The music has a slinkiness.

There's a powerful scene near the end between Burton and Kerr, which is better suited for the stage than the screen. However, these two actors manage to make it seem real. (Kerr and Burton's character may be soul mates, but the real sexual chemistry is between Burton and Gardner.)

We saw this movie at the excellent Dryden Theatre at the George Eastman Museum in Rochester, NY. It was wonderful to see the original nitrate film version on the large screen, but it will work well enough on the small screen. (It's readily available on DVD.)