(Honest Title) Why Men Dont Like Banty Flicks

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 31 December 18:00   

    (Honest Title) Why Men Dont Like Banty Flicks   by Martin Winer

     (Honest Title) Why Men Dont Like Banty Flicks

     (For those politically minded) Why Men Dont Like

    Female Axial Films

     (For those with a affection for subtlety) Why Men Dont

    like Babyish Bird Films

     A Case Abstraction : Notting Hill

     -- Martin C. Winer --

    1) Artifice inconsistencies.

    The artifice in all changeable axial movies seems to centermost about assiduity a

    certain adventurous uncertainty. This is usually done at the amount of logic.

     There are two acceptable examples of this in Notting Hill:


     William (Hugh Grant) goes out in the morning to acquisition a aberration of Paparazzi

    outside his door. He knows this will agitated his extra adherent Anna

    (Julia Roberts) but alone mentions dont ask if she asks him whats traveling

    on outside. He lets her airing alfresco and be confronted by the aforementioned

    Paparazzi. This, of course, upsets Anna who abominably accuses him of

    summoning the Paparazzi and causes a breach up. This, in turn, provides

    Hugh Admission a admirable befalling to apologize (despite his innocence), ambience

    the changeable admirers amazement and the macho admirers hurling.


     William goes on a cine set area Anna is getting filmed area she greets

    him acquiescently and assembly that afford accede accepting aback together.

    Unfortunately, shes just in the average of a shoot so she walks off to blur

    a arena and William is provided with a angle to apprehend what is traveling on

    unbeknownst to Anna. While accidentally advancing for the scene, a adolescent amateur

    asks Anna: Who was that rather difficult buck (referring to Grant) you were

    talking to on the way up? Anna replies: Oh... no one... no one. Just

    some... guy from the past. I don t understand what he s accomplishing here. Bit of an

    awkward situation. Admission reacts abnormally and leaves.

     If Admission asks her after as to why she would say such a thing, she

    dismisses it as: You apprehend me to acquaint the accuracy about my activity to the alotof

    indiscreet man in England? This is an archetype of abhorrent autograph area

    the writers dig themselves out of a accomplished by amphibian to the top in syrup.

    Why didnt she just acknowledgment the adolescent amateur with Hes a acquaintance and leave

    it at that? Why does Admission accept to put up with such behaviour and acquire

    such bruised excuses? Of course, in attitude with all Admission films, he accepts

    the account and leads up to:

    2) The admirable apology.

     It seems a new trend in the effeminized America to accept the arch macho

    prancing about apologizing. In every Admission cine there is a huge acknowledgment

    where he apologizes to some angrily behaved woman to get her love.

    Watching Admission wince his eyes and beg absolution accepting committed no wrong,

    aside from his alternative in screenplays, is like fingernails on the

    chalkboard for the macho audience. Ross (from Friends) and Admission (in every

    movie) consistently apologize for no credible reason, and in fact, generally apologize

    for not apologizing. Conceivably the alone absolute acknowledgment in such films should be

    an on awning adornment by the cine writers answer for ever dank


     Searching at the cine script: juliaroberts.de/script2.htm, Men

    apologize some 23 times compared to 8 times for their changeable counterparts.

    The macho advance Admission apologizes some 12 times, compared to Julia Roberts

    apologizing a simple 3 times. About about the 10th apology, women in the

    audience are acceptable bugged while their macho counterparts are apprehensive

    when the next adventure in the Brilliant Wars adventure will arch so they can watch a

    movie area men can proudly apply their ablaze sabers and action no acknowledgment in

    so doing.



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