Black Opal Aubergine

I wanted to know what happened here, to feel viscerally the headstones and the shoe leather---- Sue Eisenfeld

I always tell myself not to waste my usage like this, since I need it for other things, and it is too cold to lug laptop around for WiFi, but James Stewart's mature post-Kennedy era work forms an important codicil here, and Shenandoah is one of the most heightened libertarian statements the studio system ever created, and takes the price and the power of individual liberty quite seriously, whatever else might be extracted from it during the turbulence surrounding the fall of Saigon, and deserves credit for the sheer sweep of its panoramic scope. Only Stewart could have carried Charlie's gravity with such noblesse oblige, bearing up to his losses on such unswerving principle. The script is at once a magnificent argument for freedom, self-reliance, with a warning that it doesn't come cheap, bordering on hagiography. He'd revisit some of the same themes, roughly 3 years later, once again foiled against George Kennedy, in Fool's Parade, where spastic's suspicions were aroused that Stewart's key opening on the train with a fake glass eye was stolen from Ray Milland. The Man From Colorado, with Ford, and some years younger, I believe nearly 20, is what Shenandoah might have been if Charlie had taken sides. It is also a libertarian obelisk, which doesn't give PTSD killers any credit. Ford's damaged colonel becomes exaggerated caricature, but for 48 must be given credit as a post WWII film making the case for troubled veterans. This is a preliminary summary of what I hope to revisit.