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Post by lin212 on Jan 5, 2010 22:22:32 GMT -5
Speaking about the vanity, I am still trying to figure out how Maddie and David see the "Painting" sign in the mirror. Mirrors reflect what is BEHIND you, right?
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graycav56
3rd Level
I can't imagine not rewatching with you next week.
Posts: 948
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Post by graycav56 on Jan 5, 2010 22:22:57 GMT -5
I wonder what ever happened to the French guy.
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Post by lin212 on Jan 5, 2010 22:27:22 GMT -5
I wonder what ever happened to the French guy. Sacre bleu! Foiled again.
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Post by beesnbears on Jan 5, 2010 22:28:19 GMT -5
In this episode, we have the recurrent theme of Maddie's romanticism. Maddie is almost over the top with her dreams of Philip Wright idolizing her. Do you think that David is surprised by the depth of her feelings? Do you think he gains any insight into Maddie's psyche? Well, I definitely think David gets a little open window here...as gray said, the Ice Queen reveals a very definite romantic side--though the object of her romanticism is a little ridiculous to him. To me, Maddie's vision of Philip Wright as a prieux chevalier, pining away for love of her, is another example of her naivete about relationships--she constructs this castle-in-the-sky scenario that ends up bearing little relation to the truth (we see this again in "Yours, Very Deadly," when she wants Mrs. Woodley to allow Macy to keep writing). David, being more earthbound (not to mention, earthy!) and having been scorched more than once, takes a more cynical view. And WHY does Maddie always seem to do that? Maybe she has been scorched a few times too.
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Post by jpen on Jan 5, 2010 22:31:55 GMT -5
David is pretty hard on Maddie when she buys the portait and scoffs at her belief that Philip Wright killed himself for her. But, in the end, when Maddie realizes the truth about the portrait and is feeling badly, David is sympathetic by telling her he's sorry that it all turned out the way that it did. Does Maddie learn anything about David? Well, as others have said, she certainly understand that he is going to be there for her...but I think she also gets a glimpse that he's not going to lay himself bare for her. When he first references "us poor slobs who live for you," Maddie looks almost shocked. As indeed she might--if she chose to read into it, it's a very revealing line. But in the ending scene, he treats her with a little gentle humor...but he doesn't rise to the bait when she asks him to tell her more about the "poor slobs." (Her tone of voice here is so inviting, IMO--kinda provides a bookend to that smoky look from the first scene.) His response ("You keep wearin' that much makeup...") is sweet, but doesn't really reveal his feelings. I don't think he's nearly ready to take that risk yet...and of course, neither is Maddie. So she just blows him a playful kiss and that's the end of that. All in all, I think this episode gets them to take a tiny step forward in their relationship--subtly, without any grand declarations--but it's a nice lead-in to "Atlas."
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Post by lin212 on Jan 5, 2010 22:33:23 GMT -5
And WHY does Maddie always seem to do that? Maybe she has been scorched a few times too. I think it all goes back to her father. She idolizes him (this is pre-EDFIAV) and has an idealistic view of her parents' marriage.
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Post by jpen on Jan 5, 2010 22:36:47 GMT -5
Well, I definitely think David gets a little open window here...as gray said, the Ice Queen reveals a very definite romantic side--though the object of her romanticism is a little ridiculous to him. To me, Maddie's vision of Philip Wright as a prieux chevalier, pining away for love of her, is another example of her naivete about relationships--she constructs this castle-in-the-sky scenario that ends up bearing little relation to the truth (we see this again in "Yours, Very Deadly," when she wants Mrs. Woodley to allow Macy to keep writing). David, being more earthbound (not to mention, earthy!) and having been scorched more than once, takes a more cynical view. And WHY does Maddie always seem to do that? Maybe she has been scorched a few times too. Definitely possible, bees. Also, though, I think Maddie has had a tough time connecting with people. She's used to men admiring her, finding her (or her money or status) desirable...but as for someone accepting and loving her--"the garbage and the good stuff"--I think odds are she hasn't really experienced that...which is why she doesn't trust it with David.
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Post by beesnbears on Jan 5, 2010 22:37:04 GMT -5
Speaking about the vanity, I am still trying to figure out how Maddie and David see the "Painting" sign in the mirror. Mirrors reflect what is BEHIND you, right? ;D I always get confused when she tries to strike the same pose in front of the portrait! She uses the wrong hand or something, doesn't she?
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Post by jpen on Jan 5, 2010 22:45:02 GMT -5
(we see this again in "Yours, Very Deadly," when she wants Mrs. Woodley to allow Macy to keep writing). Oh, and, um, did I mention a certain guy named Sam?
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Post by beesnbears on Jan 5, 2010 22:47:26 GMT -5
And WHY does Maddie always seem to do that? Maybe she has been scorched a few times too. I think it all goes back to her father. She idolizes him (this is pre-EDFIAV) and has an idealistic view of her parents' marriage. Me too! I always felt her father imposed high expectations upon her growing up. Not a bad thing for a parent to do, but I think she carried those expectations into adulthood, still seeking his approval at 35-36yrs. old, knowing what kind of man he would want her to be with or even marry. I'm sure we will talk about this more when we do "Every...", but this partly explains why she is devasted by his indescretion in that episode.
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Post by diane on Jan 5, 2010 22:52:17 GMT -5
Gray, I will check out script dates in a sec, but to give you insight into the "Portrait" script, I've got.
Quite frankly, it's a mess to try and figure out. The title page says First Draft, with no dates whatsoever, but there are colored pages, which means script revisions......
The dialogue that aired seems to be pretty much intact, except for the first office scene. Missing from the script is the whole hug, and the glorious dialogue that goes with it. That replaces a two page scene about spending the money, and Maddie going on about her being a responsible adult. Frankly, it added nothing......so thank goodness it got harpooned for the delicious scene that aired.
The scene with Charlie is bizarre......he starts out being named Andrew......and there is quite a bit of dialogue about the brothers' relationship, and several pages of their way over the top Maddie adoration -- again, well worth dropping.
Two things I did find interesting....in the script, Phillip was shot through the "brain", in the aired episode, through the "heart"...perhaps to enhance the "romance".
And in the script, the portrait is not seen in the beginning scene........the first time you see it is in the loft. Also, the scene in the art gallery with Maddie looking at the painting is much longer, and more descriptive.....I think i will give you the description....maybe it is what's coloring some of my feelings about the episode.....
CLOSE ON MADDIE
...and SUDDENLY.....SHE STOPS dead in her tracks.....CAUGHT.....stuck there.....her eyes locked on....
THE PORTRAIT
....immediately...arrestingly beautiful....DARK, RICH COLOR suggesting a DIMLY LIT ROOM....and in a POOL OF LIGHT is MADDIE.....wearing only a white, bare shouldered nightgown.....staring at her reflection in a mirror at a dresssing table...idly...gracefully brushing her hair....
ON MADDIE
....and she looks at it.....filled with disbelief...and at the same time...wonder.....and a SMALL SMILE breaks out across her face....
ON THE PAINTING
....and though it is impossible for an inanimate object to smile back...we would almost swear.....
ON MADDIE
...as she slowly...almost UNCONCIOUSLY....raises a HAND TO her own CHEEK.....and STROKES IT....her eyes riveted to........
THE PAINTED MADDIE'S CHEEK
.....almost as soft.....
ON MADDIE'S LIPS
.....as her fingers quickly rush across them....
ON THE PAINTING'S LIPS
...almost as red.....
ON MADDIE -- THE PORTRAIT'S P.O.V.
....lost in it.....as SLOWLY we MOVE towards her.....
ON THE PORTRAIT
.....as SLOWLY we MOVE towards it.....
ON MADDIE'S EYES
.....as SLOWLY we MOVE towards them.....
ON THE PORTRAIT'S EYES
....as SLOWLY we MOVE towards them.....
this crazy script stops abruptly there, and moves to some dropped dialogue with david that seems to come from nowhere, and fit nowhere.....then moves to the scene at Maddie's house.
So, is it me, or does that kinda read like soft porn?
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graycav56
3rd Level
I can't imagine not rewatching with you next week.
Posts: 948
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Post by graycav56 on Jan 5, 2010 22:55:44 GMT -5
I need another of my patented showers....
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Post by jpen on Jan 5, 2010 23:00:37 GMT -5
So, is it me, or does that kinda read like soft porn? Oh, my...yeah, it's pretty suggestive...and you definitely get the Maddie-infatuated-with-Maddie-as-objet-d'art angle!
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Post by beesnbears on Jan 5, 2010 23:17:00 GMT -5
Whoa!! Amazing what a few written words can do to change the way you have seen something on screen. Wonder why they didn't air it like that?
Now I understand your feelings diane. However, I do think Maddie's self-absorption is very much a product of her life experiences...though I can't prove it....only can speculate.
It's wonderful to see the change and growth in that area of her character. Does she have David to thank for that?
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Post by beesnbears on Jan 5, 2010 23:32:33 GMT -5
His response ("You keep wearin' that much makeup...") is sweet, but doesn't really reveal his feelings. I don't think he's nearly ready to take that risk yet...and of course, neither is Maddie. So she just blows him a playful kiss and that's the end of that. jpen Why couldn't he just lay a big one on her and smear paint all over the two of them!!! ....sigh All for me tonight.....it's to dang cold in Texas...I'm going to get warm.... Goodnight to all of us poor slobs!!
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