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There are moments, Jeeves, when one asks oneself, 'Do trousers matter?'

Barcelona, España
Joined June 2009
Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)Photo by claudio ortega (@clorgu)
claudio ortega retweeted
Stalag 17 (1953) written by Billy Wilder and Edwin Blum starring William Holden, Don Taylor, Otto Preminger, Robert Strauss, Harvey Lembeck, Richard Erdman, Peter Graves, Neville Brand, Sig Ruman This was Billy's first film after the failure of Ace in the Hole (which is now recognized as an unqualified masterpiece). He often talked about how he really wanted a big success and he definitely found one in this play by Bevan and Trzcinski which ran for 472 performances on Broadway the prior two years (produced and directed by Jose Ferrer). It was considered risky at the time to produce a WW2 comedy/drama (we'd now call it a dramedy I suppose) but in the deft hands of Wilder the tonal shifts were perfectly calibrated (see The Great Escape as an example of tonal shifts not perfectly calibrated) and integrated into the story/plot. William Holden was the natural successor to the sort of cynical American played in the 1940s by Humphrey Bogart and had already been Oscar-nominated in Wilder's masterpiece Sunset Blvd (1950). He became the perfect embodiment of the Wilder stand-in during the 1950s and won a Best Actor Oscar for his portrayal of Sefton the "is he or isn't he" American collaborator in the prison camp. A truly stand-out ensemble cast with several from the original Broadway play and then there's Otto Preminger as the camp commandant. He was notoriously difficult be Billy always said he was a pleasure to work for and one of the easiest actors he ever had to direct. It's one of Wilder's best films although maybe not as well remembered today as it once was. Personally, I love it but ... I argued or discussed with Billy many times that final shot which I never liked (it always feels out of place to me) and one night, after several of Billy's favourite martinis, he finally just said to me "just go fuck off." That was Billy. I loved him and learned more from him than any other director I knew. Highest recommendation. It's a great film.
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claudio ortega retweeted
Quando sento Ivry Gitlis e il suo violino suonare la musica di Fritz Kreisler con questo rubato, mi sembra di essere in una locanda della vecchia Vienna (che forse non esiste più).
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claudio ortega retweeted
El pensamiento crítico, tal como se suele practicar en los centros educativos, consiste en envalentonar la opinión para que ponga normas a la razón.
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claudio ortega retweeted
Jordi Feixas: "El repte és immens, però els aliats de la democràcia liberal l'hem d'encarar. Perquè, com fa un segle, apareixeran alternatives que ens demanaran de sacrificar les llibertats imperfectes, però segures, que la democràcia liberal preserva" editorialalbada.com/ca/blogs…
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We sometimes prefer being wretched, provided we remain interesting in our own eyes. Christians interpret this because of the fallen nature of human beings. Perhaps we must learn how to desire our own good.
Are These Truths Really Self-Evident? A Q&A with Rémi Brague thepublicdiscourse.com/2026/…
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Tácito, Historias, III, 81
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Tu fui, ego eris.
Un país en el que mandan estos está abocado a la ruina
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Principio de asintoticidad política. Por muy mal que se ponga la cosa, con Vox siempre estaríamos peor.
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No, no, ch'io non mi pento, Vanne lontan da me!
Omoh 😲🙆🏼‍♂️
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Q.E.D.
Antifascismo irónico. La sospecha de que, más que miedo de que Vox llegue a gobernar, lo que tienen es miedo a lo que harán los suyos si eso pasa.
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La majorité des Français pensait comme Bossuet; tout d'un coup, les Français pensent comme Voltaire: c'est une révolution.
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En el pensamiento totalitario, el poder toma preferencia sobre la eficacia. Por eso el capitalismo ha derrotado a nazis y comunistas.
Los impuestos no como ética redistributiva, equilibrio y bienestar social, sino como arma con la que amenazar y señalar al supuesto enemigo. Todo aderezado con insultos y odio clasista. La degradación sigue con paso firme.
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🤖 Made with AI
Ja el tenim aquí 😊📚
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Pascale Ogier, October 26, 1958 - October 25, 1984. Fabrice Luchini With Pascale Ogier on the set of Eric Rohmer’s Full Moon in Paris (1984).
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Taxes and crumpets.
Presentamos la tasa TAX THE RICH desde el Ritz.
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