Stupid LJ, won't let me post this all at once, so here I am spamming your journal with multiple comments.
The sort of bitter arguing that can only be done by people who know each other well enough to know just where to stick the knife, and the fact that both men showed their wounds openly to the other (Stephen's expression after Jack yelled, "We do not have time for your damned hobbies, sir!" was painful, as was the hurt in Jack's voice when he said, "I hate it when you speak of the service in this fashion. It makes me so very low.").
Yes, yes, yes!! It was such a realistic argument for two people who are so invested in one another to have. And the look on Stephen's face...I hurt for him.
The discussion about holding the men's lives in their hands and not drowning in self-blame when those lives are lost.
Bettany deserves an Oscar nom if for nothing else than that scene. The quiet tone, the way he tilts his head at the end; it was perfect. I wanted to hug the poor dear.
The pleasure and release in their duets, and Jack's longing look at Stephen's silent cello after he's been shot (though it was pretty careless of Stephen to leave it propped up like that. One good wave and it's goodbye, expensive instrument.)
Yes, I noticed that too. It was an effective shot emotionally, but practically, I seriously doubt that 'cello would've been sitting out like that.
Stephen requiring Jack's strong, steady hands while he does surgery on himself (ow! ow ow ow!), and asking Jack if he's all right (!).
Ah, that's one of my fave scenes, and always got a laugh from the audience. Stephen's little grin when all Jack can do is nod stiffly...hee!
The little exchange of disappointed "ah"s when it becomes clear that Stephen's still not going to be able to go get his specimens from the Galapagos at the end.
Yes, loved the symmetry there.
"He fights like you, Jack."
Another example of Bettany's impeccable delivery.
"Name a shrub after me. Something prickly and hard to eradicate."
Love that line. It got huge laughs every time in the theatre, and is just so very Jack.
They fit together so well, their love so deep and encompassing (and chaste- I still can't slash them, even though this Stephen's prettier and better dressed, Sophie's just a name on a letter and Diana’s not even that)
I'm inclined to agree. Such a deep friendship and textual love is already there, but I've never seen them as particularly slashy. Even the movie versions didn't scream out slash to me.
Which isn't to say that I'm not still crossing all my fingers and toes that Peter Weir ignores his general distaste for sequels and makes one anyway.
Weir doesn't like to do sequels? Aw. Surely he can get over that quirk just this once.
There are so many more books in the series that it seems a shame to miss seeing Post Captain: The Letter of Marque or The Fortune of War: Treason's Harbor or The Nutmeg of Consolation: The Truelove (well, not that last one. Clarissa bugs me, though I do like saying "Nutmeg of Consolation").
Hee! I have a feeling we might get titles that all start with "Master and Commander:", and that would work for me. There are so many elements from so many books to work with.
Acheron was just as good-looking (was that a real ship or a really good fake?
According to the book (in my case, unfortunately a paperback), she was both. They did build part of her, but much of the planking and rigging was CGI. And in the long shots of the ship, she's completely CGI. I'm impressed.
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Date: 2003-11-21 03:23 am (UTC)The sort of bitter arguing that can only be done by people who know each other well enough to know just where to stick the knife, and the fact that both men showed their wounds openly to the other (Stephen's expression after Jack yelled, "We do not have time for your damned hobbies, sir!" was painful, as was the hurt in Jack's voice when he said, "I hate it when you speak of the service in this fashion. It makes me so very low.").
Yes, yes, yes!! It was such a realistic argument for two people who are so invested in one another to have. And the look on Stephen's face...I hurt for him.
The discussion about holding the men's lives in their hands and not drowning in self-blame when those lives are lost.
Bettany deserves an Oscar nom if for nothing else than that scene. The quiet tone, the way he tilts his head at the end; it was perfect. I wanted to hug the poor dear.
The pleasure and release in their duets, and Jack's longing look at Stephen's silent cello after he's been shot (though it was pretty careless of Stephen to leave it propped up like that. One good wave and it's goodbye, expensive instrument.)
Yes, I noticed that too. It was an effective shot emotionally, but practically, I seriously doubt that 'cello would've been sitting out like that.
Stephen requiring Jack's strong, steady hands while he does surgery on himself (ow! ow ow ow!), and asking Jack if he's all right (!).
Ah, that's one of my fave scenes, and always got a laugh from the audience. Stephen's little grin when all Jack can do is nod stiffly...hee!
The little exchange of disappointed "ah"s when it becomes clear that Stephen's still not going to be able to go get his specimens from the Galapagos at the end.
Yes, loved the symmetry there.
"He fights like you, Jack."
Another example of Bettany's impeccable delivery.
"Name a shrub after me. Something prickly and hard to eradicate."
Love that line. It got huge laughs every time in the theatre, and is just so very Jack.
They fit together so well, their love so deep and encompassing (and chaste- I still can't slash them, even though this Stephen's prettier and better dressed, Sophie's just a name on a letter and Diana’s not even that)
I'm inclined to agree. Such a deep friendship and textual love is already there, but I've never seen them as particularly slashy. Even the movie versions didn't scream out slash to me.
Which isn't to say that I'm not still crossing all my fingers and toes that Peter Weir ignores his general distaste for sequels and makes one anyway.
Weir doesn't like to do sequels? Aw. Surely he can get over that quirk just this once.
There are so many more books in the series that it seems a shame to miss seeing Post Captain: The Letter of Marque or The Fortune of War: Treason's Harbor or The Nutmeg of Consolation: The Truelove (well, not that last one. Clarissa bugs me, though I do like saying "Nutmeg of Consolation").
Hee! I have a feeling we might get titles that all start with "Master and Commander:", and that would work for me. There are so many elements from so many books to work with.
Acheron was just as good-looking (was that a real ship or a really good fake?
According to the book (in my case, unfortunately a paperback), she was both. They did build part of her, but much of the planking and rigging was CGI. And in the long shots of the ship, she's completely CGI. I'm impressed.