Not another sermon! I don't mind a lie if it's interesting.

The movie, "Rashomon" (1950) has generated some interesting quotes. Like 'Commoner's' line in the above blockquote. And I suppose we are meant to identify with the Commoner.

But that is so 1950's.

Here's the thing, I don't want to fight anymore. Nevertheless, I will probably have to. So if I have to fight, I hope it's worth it. But for what? And I think I'm starting to understand a little more why Rashomon has never totally left my brain - even though I had to search for the title. (And I know there is a famous US film that is based on the Japanese movie "Rashomon;" but this entry needs my cooperation, so it's early 1950's movies.)

Even before 1950 there was "The Third Man" (1949-1950) - you know, the one with the zither. Wikepedia said this about it, (the movie, not the instrument) "the atmosphere of an exhausted, cynical, post-war Vienna at the start of the Cold War." Then, of course, 1950 (or maybe 1951) had the above mentioned, "Rashomon" "The Asphalt Jungle," and "Kind Hearts and Coronets" (1949-1950).

"The Thing from Another World" (1951), "The Desert Fox: The Story of Rommel" (1951), "The Red Badge of Courage" (1951), "I Was a Communist for the FBI" (1951, again, not the TV series), and, of course, "Abbott and Costello Meet the Invisible Man" (1951).* So why no mention of "The African Queen" (1951)? Too black and white, I suppose. Or "Death of a Salesman" (1951) or "A Christmas Carol" (1951)? I suppose it's because one movie is so sad while the other is so hopeful. As I suggested though , this is a sort of Rashomon time.

From one of his strongest sets of lyrics, I guess I'll agree with the late (killed) John Lennon's refrain, "A working class hero is something to be." But then that was after the 1950's. When the contrast control had already started to sharpen and soften the same picture.

Daddy, are we in Rashomon yet?

...

*Note the list with no object. Sorry, but it stays - sort of fits.