Linkage

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Architecture and Color

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Naked Lady of the Week: Gabriella

Fabrizio del Wrongo writes:

g-cover

Ah, the cool blonde. Is she ever really out of fashion?

The Hungarian Gabriella, sometimes known as Gaby or Mia, was one of the top nude models in Europe before she threw in the towel earlier in the year. This despite the fact that she has smallish boobs and mostly keeps her legs closed.

The latter custom seems to have caused some consternation among her fans. Says one inconsiderate horndog: “She is absolutely gorgeous. But there are now 3 photo sets and I am still waiting for a good shot of that pussy. What does it look like? I don’t yet know.”

Fortunately, we know what she thinks of such complaints. She wrote the following on the message boards of TheNudeEU:

you know there is life beyond being a porn actress and showing pink all over the internet for little money. I have respect for girls who does, and intelligent enough not to spend the money for drugs, but it is just not my thing.

and Just because you do not know about other, better, well paid modeling work, does not mean it does not exist. And maaaybe you cannot imagine, but not all of the girls are dumb as hell, and can manage life without showing pussy all over. I never wanted to show more than I am comfy with, just for bucks! And I will never do even for a million dollars. That is not what I worked for until now.

so go ahead and look at those who did!

thanks for the cute words though, best wishes

the model

Strong and perhaps admirable words. But I do wonder about the contradiction wherein nude models who “show pink all over the internet” make “little money” and those who do not are “well paid.” Maybe she means that a model of her stature need not sacrifice modesty in order to be well compensated? I think that’s probably it. She’s saying, “I’m good enough to be successful without submitting to that.” Fair enough.

Speaking of money, I often find myself wondering about the economics of the nude-modeling biz. And since no one has bothered to make a good documentary or Netflix series on the topic, my understanding is limited to vague assumptions and whatever I can glean from an interview or public comment. Like some other popular models, Gabriella founded her own website, called Fall In Lust. I imagine this allows a model to cut out the middle man and take a larger percentage of the profits generated by her pictures. But there are obvious downsides to such an arrangement. For one thing, you have to hire solid photographers, and they cost money. For another, the commodity in which you’re dealing is endlessly reproducible and accessible free of cost.

Gabriella addressed some of these downsides in her final post on TheNudeEU:

Hi Everyone,

This is Gaby here. I wanna apologize for not updating on my website for a very long time. The site made literally no money which I could use for making new series regularly and my life went through lots of change as well.

So Indeed, I needed to close it. I will refund every charge which happened this, 2017 year. I did not fully count on people stealing and spreading all the images for free, instead of considering to pay the subscription fee. This saddened me because I really did try to put something nice out there, even though it wasn’t anything groundbreaking or unique and people did not get that there is no one else behind the site but me. If nobody pays for it, it is just not gonna sustain itself, eventually. I could not keep up with all the work for almost no money.

I appreciate everyone who took any interest in the work I did over the years, even though it is an attention I did not really wish for. I somehow ended up liking modeling and I found no problem with tasteful nudity either. Sometimes attention went a little too far and I was not into that. I did not wish for that part of the deal. It might seem that I am an exhibitionist but I actually have a pretty shy personality. I am just very curious to new things in life. There was a lot of great stuff coming out of this job, and I am glad I did it. I would not be where I am now. It shaped me and helped me to get to know myself and change my shyness for the better too. But lately, I got to a certain point in life where I started to doubt that having lots of attention from the internet, social media etc will have nothing to do with my happiness. So the need for a change just organically happened.

Anyways, not sure any of this makes sense, just wanted to put the word out there since I stumbled upon these wondering comments about me.

You all have a great day and thanks for reading!
G

A touching and seemingly very candid summation of her career. I note that she recently turned 30, a fact which — just playing devil’s advocate here — may have played a not-inconsiderable part in her decision to call it quits, whether she’s conscious of it or not. But, then, the best rationalizations are both convenient and true.

Here’s hoping she’s enjoying the next stage of her life.

Nudity below. Enjoy the weekend.

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21st Century Movies: The NYT v. Us

Blowhard, Esq. writes:

Manohla Dargis and A.O. Scott, the two main film critics at The New York Times, have released their list of the best movies of the 21st century so far:

1. There Will Be Blood
2. Spirited Away
3. Million Dollar Baby
4. A Touch of Sin
5. The Death of Mr. Lazarescu
6. Yi Yi
7. Inside Out
8. Boyhood
9. Summer Hours
10. The Hurt Locker
11. Inside Llewyn Davis
12. Timbuktu
13. In Jackson Heights
14. L’Enfant
15. White Material
16. Munich
17. Three Times
18. The Gleaners and I
19. Mad Max: Fury Road
20. Moonlight
21. Wendy and Lucy
22. I’m Not There
23. Silent Light
24. Eternal Sunshine of the Spotless Mind
25. The 40-Year-Old Virgin

A mixture of overpraised critical darlings (“There Will Be Blood”, “Million Dollar Baby”, “Inside Out”, “Boyhood”, “The Hurt Locker”, “Mad Max: Fury Road”, “Moonlight”), film festival stalwarts (Assayas, Wiseman, Dardenne Brothers, Varda), awful indies (“Wendy and Lucy”, “I’m Not There”), and the safe obligatory curveball (“The 40-Year-Old Virgin”). In other words, pretty much what you’d expect from an Establishment rag. The one surprise for me was “Munich”, a movie I haven’t heard anyone talk about since the end of its original run.

Token NYT conservative Ross Douthat offered his riposte to the Dargis-Scott list:

1. Eternal Sunshine of the Spotless Mind
2. The 40-Year-Old Virgin
3. Max Max: Fury Road
4. Mulholland Drive
5. The New World
6. Pan’s Labyrinth
7. Moulin Rouge!
8. The Squid and the Whale
9. The Social Network
10. The 25th Hour
11. Ida / The Gods of Men / Cavalry
12. The Passion of the Christ / Apocalpyto
13. The Lives of Others
14. No Country For Old Men
15. The Royal Tenenbaums
16. The Queen of Versailles
17. Arrival
18. Inglorious Basterds
19. Lord of the Rings
20. Grizzly Man
21. Eastern Promises
22. The Incredibles
23. Gladiator

Any list that contains “MM:FR” is by definition disqualified. While defending his choice of “No Country For Old Men” over the other Coen Brothers offerings, Douthat says, “Better safe than wrong.” Spoken like a real schoolboy suck-up, Ross. Here at UR, we say better interesting and wrong than safe.

Which brings me to our lists, which we offered last summer. I might make a couple of adjustments here or there given the last year’s offerings, but I think we all still basically stand by our choices. While looking over the above, I realized I never did a follow-up post where I tallied our shared favorites. Herewith I rectify that shameful oversight and submit our meta-list as a counter to those offered by our cultural overlords at the Times:

margaret

4 votes:
1. Margaret (Lonergan, 2011)

3votes

3 votes:
2. Training Day (Fuqua, 2001)
3. Mulholland Dr. (Lynch, 2001)
4. Apocalypto (Gibson, 2006)
5. Black Book (Verhoeven, 2006)
6. A Serious Man (Coen Bros., 2009)
7. Oslo, August 31st (Trier, 2011)
8. The Trip to Italy (Winterbottom, 2014)

2votes

2 votes:
9. Unbreakable (Shyamalan, 2000)
10. Yi Yi (Yang, 2000)
11. Cast Away (Zemeckis, 2000)
12. The Lord of the Rings: The Fellowship of the Ring (Jackson, 2001)
13. Cocaine Cowboys (Corben, 2006)
14. The Last Mistress (Breillat, 2007)
15. Michael Clayton (Gilroy, 2007)
16. Crank: High Voltage (Neveldine/Taylor, 2009)
17. True Grit (Coen Bros., 2010)
18. The Trip (Winterbottom, 2010)
19. Sucker Punch (Snyder, 2011)
20. Byzantium (Jordan, 2012)
21. Blue is the Warmest Color (Kechiche, 2013)
22. Only God Forgives (Refn, 2013)

I’ll round it up to 25 by adding:

23. The Blue Planet and Planet Earth (Fothergill, 2001 and 2006)
24. Two Lovers (Gray, 2008)
25. A Separation (Farhadi, 2011)

Strikes a pretty good balance, if you ask me. For starters, there’s a refreshing lack of take-your-medicine foreign and indie movies. There’s mainstream Hollywood pop (“Training Day”, “Cast Away”, “True Grit”, “The Fellowship of the Ring”), a healthy dose of eroticism (“Blue is the Warmest Color”, “Black Book”, “The Last Mistress”), a lesser-seen franchise (Winterbottom’s “The Trip” series), a lesser-seen vampire movie (“Byzantium”), arthouse edginess (“Mulholland Dr.”, “Only God Forgives”), alpha males (“Apocalypto”, “Cocaine Cowboys”), proof that literariness doesn’t have to be boring (“Margaret”, “Two Lovers”, “A Separation”), and the just plain drugged-out and disreputable (“Crank: High Voltage”).

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The Art of the Opening Title: The Americans, Season 4

Blowhard, Esq. writes:

An interview with an animator who created it. He also worked on the opening titles for TRUE DETECTIVE.

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Juxtaposin’: Italian Midlife Crisis Death

Blowhard, Esq. writes:

The ending of David Chase’s THE SOPRANOS seems too similar to the ending of Elio Petri’s I GIORNI CONTATI to be a coincidence. Petri’s film was never released in the United States, but given that it’s an Italian film and the main character is a middle-aged man in the throes of an existential crisis named Cesare — which happens to be David Chase’s family name before it was Anglicized (Chase’s daughter goes by the last name DeCesare) — I wonder if Chase hasn’t somehow seen it and borrowed from it either consciously or unconsciously.

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Movie Du Jour: “Cluny Brown” (1946)

Blowhard, Esq. writes:

Lubitsch’s last completed movie which, for some reason, isn’t discussed or cited as frequently as his other classics. Charles Boyer and Jennifer Jones are excellent. Pauline Kael wrote:

A girl with a passion for plumbing is terribly repugnant to stuffy people who don’t want to admit they have drains. This wonderfully suggestive idea is at the center of Ernst Lubitsch’s mischievous satire of English propriety, set in contemporary rural England. Jennifer Jones is Cluny (it’s her lightest, funniest performance, rivalled only by her dippy blonde in Beat the Devil) and Charles Boyer is a debonair scrounger — a displaced European sophisticate who encourages her to flout social conventions. These two are surrounded by a prime collection of English class and mass types. It’s a lovely, easy-going comedy, full of small surprising touches.

You can watch it on YouTube.

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