|
Post by reverendcaptain on May 27, 2021 17:14:40 GMT
I love this scene too! Another question is what each party is thinking with "I'm not sure I'll make a very good nun". Seems a pretty personal thing to say to a woman she hardly knows? Is this the moment she realizes, "oh, so THIS is where I belong", and Georg's "oh-ho" ("...I KNEW it")? We were talking about this somewhere a while back, and I can't find it right now. Someone ( utility_singer maybe?) had a theory that Georg and Maria have talked about her not being suited to be a nun somewhere along the line in the interim between the argument and the puppet show, and his laughing reaction was because this topic was an inside joke with them.
|
|
|
Post by utility_singer on May 28, 2021 11:21:56 GMT
I love this scene too! Another question is what each party is thinking with "I'm not sure I'll make a very good nun". Seems a pretty personal thing to say to a woman she hardly knows? Is this the moment she realizes, "oh, so THIS is where I belong", and Georg's "oh-ho" ("...I KNEW it")? We were talking about this somewhere a while back, and I can't find it right now. Someone ( utility_singer maybe?) had a theory that Georg and Maria have talked about her not being suited to be a nun somewhere along the line in the interim between the argument and the puppet show, and his laughing reaction was because this topic was an inside joke with them. Yes---though it was more about the other nuns feeling Maria she wasn't suited rather than herself. I don't think she was self-aware enough to verbalize that, or even realize that, yet. Anyway, this is a brilliant discussion that I'd like to take back to Georg realizing at this point that he and Elsa are not suited to one another. I take it back to the lakeside, before the children and Maria arrive. Elsa keeps trying to steer the discussion toward their relationship and hinting at the future and his replies already show his discomfort. Example, the 'savior' remark which she finds so unromantic. I believe that was his intent, though he may not have realized it himself. He is grateful to her for drawing him out socially, but his heart is not yet there and he offers no indication that it will be. He changes the subject and is clearly uncomfortable. He's brought her to the villa because it is the 'thing you do' when you've been seen socially with the same woman for a certain amount of time (remember the era) and this is why she keeps hinting (or directly speaking with Max) about a proposal in the offing. It's sort of a 'shit or get off the pot' moment. Every encounter we see from then on shows Georg admitting to himself that Elsa is all wrong for him. This is why I love the movie so much more than the stage show. His character arc is so interesting and is central to saving his family.
|
|
|
Post by augiesannie on May 29, 2021 20:21:54 GMT
I really like that interpretation of the "savior" line, utility_singer. I could never understand it literally, ecause he's going to go from " you saved my life," to "it's no use" in a matter of weeks. It's more like a reflective glance in the rear-view mirror ... I would like to return to your point that Maria was not aware of her own unsuitability to be a nun. OK, maybe so. But a fun alternative reading would be that she is slowly coming to realize that she may want a different life after all (you know, the life she was born to live).
|
|
|
Post by ANeedlePullingThread on Jun 3, 2021 18:39:29 GMT
captainfraulein I like that you pointed out that Elsa is the only one not standing and clapping at the end of the performance. She seems to be looking to Georg and Max through this whole scene to know what reaction to have, which is so telling. Maybe by the end she was tired of the act or maybe she thought it unladylike to jump out of her seat and applaud? I love this scene because Georg looks so genuinely happy. I like the playful peek behind th stage too, and his laughter during the show. It shows such a huge change in him with no words at all. I can't find a good sceencap of this, but right after Elsa says "My dear, is there anything you can't do?" Georg glances at her with a little bit of strange look. What do you think he makes of this question? like this one?regardless, that is a great observation! Maria’s look of heartbreak and disappointment as he takes her arm in front of her gets to me. (My dear is there anything you can’t do) I noticed she looks at their arms lock, and looks down almost as she does when on the bench at the gazebo.
|
|
|
Post by augiesannie on Jun 3, 2021 18:43:23 GMT
Maria’s look of heartbreak and disappointment as he takes her arm in front of her gets to me. (My dear is there anything you can’t do) I noticed she looks at their arms lock, and looks down almost as she does when on the bench at the gazebo. Got to go watch that.
|
|
|
Post by reverendcaptain on Jun 4, 2021 0:07:50 GMT
First of all, the microanalysis of this scene makes me so happy. I used to think I was the only one in the world who thought about these things. I'm so glad to have found you all.
Second, upon standing right next to the tv today to continue with the microanalysis, I noticed that Maria lets out an noticable exhale after Georg looks at Elsa (before the awkward bow), then she kind of does a little bow herself back at him after his awkward bow with a somewhat distressed look. In my daydreams, this exhale is her saying "Oh, your girlfriend is here so we need to be back to formalities?" because they have moved past that when alone. Not scandalously past that, just as friends past needing to hide being excited in front of one another. Possible?
|
|
|
Post by ANeedlePullingThread on Jun 4, 2021 0:17:05 GMT
First of all, the microanalysis of this scene makes me so happy. I used to think I was the only one in the world who thought about these things. I'm so glad to have found you all. Second, upon standing right next to the tv today to continue with the microanalysis, I noticed that Maria lets out an noticable exhale after Georg looks at Elsa (before the awkward bow), then she kind of does a little bow herself back at him after his awkward bow with a somewhat distressed look. In my daydreams, this exhale is her saying "Oh, your girlfriend is here so we need to be back to formalities?" because they have moved past that when alone. Not scandalously past that, just as friends past needing to hide being excited in front of one another. Possible? I’ve always wondered what they were like “alone” what was unwritten. Thus, our existence was needed. “Oh mother there were times we would look at each other and I could hardly breathe” On camera we see only the beauty of him staring at her singing “bless my homeland forever” and naturally the eye contact during the Laendler spin. What always intrigued me was “I thought I just might find you here” Why? Was she fond of it? How did he know? What do we not see? In the stage version, Brigitta is more open with her thoughts. At one point, she tells Maria her fathers look and slowness during Edelweiss was due to him forgetting the words- because he was so in love with her. Elsa believes in co existing with the n*zis. (Don't bow your head simply nod) And Maria is tells Elsa she will pray for her, and not as a compliment. I wish we could combine the 2, or the original screenplay. I’ve deviated from the topic I’m sorry.
|
|
|
Post by indigoblue on Jun 4, 2021 11:54:50 GMT
Never say sorry when it's ultramicroanalysis like this, because it's wonderful.
|
|
|
Post by Chris&Byng on Jun 5, 2021 23:07:12 GMT
First of all, the microanalysis of this scene makes me so happy. I used to think I was the only one in the world who thought about these things. I'm so glad to have found you all. Second, upon standing right next to the tv today to continue with the microanalysis, I noticed that Maria lets out an noticable exhale after Georg looks at Elsa (before the awkward bow), then she kind of does a little bow herself back at him after his awkward bow with a somewhat distressed look. In my daydreams, this exhale is her saying "Oh, your girlfriend is here so we need to be back to formalities?" because they have moved past that when alone. Not scandalously past that, just as friends past needing to hide being excited in front of one another. Possible? I’ve always wondered what they were like “alone” what was unwritten. Thus, our existence was needed. “Oh mother there were times we would look at each other and I could hardly breathe” On camera we see only the beauty of him staring at her singing “bless my homeland forever” and naturally the eye contact during the Laendler spin. What always intrigued me was “I thought I just might find you here” Why? Was she fond of it? How did he know? What do we not see? In the stage version, Brigitta is more open with her thoughts. At one point, she tells Maria her fathers look and slowness during Edelweiss was due to him forgetting the words- because he was so in love with her. Elsa believes in co existing with the n*zis. (Don't bow your head simply nod) And Maria is tells Elsa she will pray for her, and not as a compliment. I wish we could combine the 2, or the original screenplay. I’ve deviated from the topic I’m sorry. I love this perspective...it's so dead on! You probably could re-watch the movie just with a goal of finding these cues because we miss so much of the entire story in only 2:55!! I have always wondered if there was something that happened to have Maria and the children select Georg as the one we 'hear from next'. Maria must have had an inkling he would accept or she would not have asked!
|
|
|
Post by Chris&Byng on Jun 5, 2021 23:19:18 GMT
I really like that interpretation of the "savior" line, utility_singer . I could never understand it literally, ecause he's going to go from " you saved my life," to "it's no use" in a matter of weeks. It's more like a reflective glance in the rear-view mirror ... I would like to return to your point that Maria was not aware of her own unsuitability to be a nun. OK, maybe so. But a fun alternative reading would be that she is slowly coming to realize that she may want a different life after all (you know, the life she was born to live). No matter how Georg ends up feeling about Elsa in the end, I don't think he would/could ever doubt that Elsa didn't save him! She really was his saviour at one point and I am guessing he will always be thankful for that. The key difference is 'saving him' and being in love with her. I can think of all sorts of circumstances where I have called people 'my saviour' for being there for me at the right time (e.g. work, car trouble, etc.) and there's NO doubt they saved me from something worse at that moment! I just didn't love them, either, that's all!
The balcony quote ("I've been dishonest...to both of us, & utterly unfair to you") shows that Georg is feeling guilty for making it seem like everything was rosy and that they were an ideal couple. I think he is genuinely remorseful, but finally has decided to do what is best for him! (HOORAY!) I hazard to guess that it was an easy sacrifice prior to the 'movie' starting: companionship, ease of burden of grief, being active, etc., UNTIL he realized he could do much better than that.
(LOL "saviour", can you tell I'm a Canuck hah!)
|
|
|
Post by reverendcaptain on Jun 27, 2021 22:20:53 GMT
First of all, the microanalysis of this scene makes me so happy. I used to think I was the only one in the world who thought about these things. I'm so glad to have found you all. Second, upon standing right next to the tv today to continue with the microanalysis, I noticed that Maria lets out an noticable exhale after Georg looks at Elsa (before the awkward bow), then she kind of does a little bow herself back at him after his awkward bow with a somewhat distressed look. In my daydreams, this exhale is her saying "Oh, your girlfriend is here so we need to be back to formalities?" because they have moved past that when alone. Not scandalously past that, just as friends past needing to hide being excited in front of one another. Possible? I’ve always wondered what they were like “alone” what was unwritten. Thus, our existence was needed. “Oh mother there were times we would look at each other and I could hardly breathe” On camera we see only the beauty of him staring at her singing “bless my homeland forever” and naturally the eye contact during the Laendler spin. What always intrigued me was “I thought I just might find you here” Why? Was she fond of it? How did he know? What do we not see? In the stage version, Brigitta is more open with her thoughts. At one point, she tells Maria her fathers look and slowness during Edelweiss was due to him forgetting the words- because he was so in love with her. Elsa believes in co existing with the n*zis. (Don't bow your head simply nod) And Maria is tells Elsa she will pray for her, and not as a compliment. I wish we could combine the 2, or the original screenplay. I’ve deviated from the topic I’m sorry. Yes. How many "hardly breathe" moments were there? Was Edelweiss the first one? I vote yes. And the Laendler was the last one (at the time of the conversation with RM). Were there other hardly breathe moments at the gazebo between Edelweiss and the party? Maybe that's why she was out there, to relive those lovely times once more before she leaves forever (but by the look on her face, she was actually being tortured by them not soothed)? And that's why he feels the need to remind her that he knows that he would find her there (because it is special to them)? I need to look for some facfiction on this..
|
|
|
Post by reverendcaptain on Jun 27, 2021 22:27:34 GMT
I really like that interpretation of the "savior" line, utility_singer . I could never understand it literally, ecause he's going to go from " you saved my life," to "it's no use" in a matter of weeks. It's more like a reflective glance in the rear-view mirror ... I would like to return to your point that Maria was not aware of her own unsuitability to be a nun. OK, maybe so. But a fun alternative reading would be that she is slowly coming to realize that she may want a different life after all (you know, the life she was born to live). No matter how Georg ends up feeling about Elsa in the end, I don't think he would/could ever doubt that Elsa didn't save him! She really was his saviour at one point and I am guessing he will always be thankful for that. The key difference is 'saving him' and being in love with her. I can think of all sorts of circumstances where I have called people 'my saviour' for being there for me at the right time (e.g. work, car trouble, etc.) and there's NO doubt they saved me from something worse at that moment! I just didn't love them, either, that's all!
The balcony quote ("I've been dishonest...to both of us, & utterly unfair to you") shows that Georg is feeling guilty for making it seem like everything was rosy and that they were an ideal couple. I think he is genuinely remorseful, but finally has decided to do what is best for him! (HOORAY!) I hazard to guess that it was an easy sacrifice prior to the 'movie' starting: companionship, ease of burden of grief, being active, etc., UNTIL he realized he could do much better than that.
(LOL "saviour", can you tell I'm a Canuck hah!)
I am totally with you on him being sincere that she was his savior, and totally with you that savior does not equal love. It sounds lovey dovey that she brought meaning back into his life, still there is something missing from his declarations at the lake. He is appreciative of her providing a distraction so that he could escape the memory of his dead wife. How unromantic..
|
|
|
Post by Chris&Byng on Jun 29, 2021 23:07:11 GMT
No matter how Georg ends up feeling about Elsa in the end, I don't think he would/could ever doubt that Elsa didn't save him! She really was his saviour at one point and I am guessing he will always be thankful for that. The key difference is 'saving him' and being in love with her. I can think of all sorts of circumstances where I have called people 'my saviour' for being there for me at the right time (e.g. work, car trouble, etc.) and there's NO doubt they saved me from something worse at that moment! I just didn't love them, either, that's all!
The balcony quote ("I've been dishonest...to both of us, & utterly unfair to you") shows that Georg is feeling guilty for making it seem like everything was rosy and that they were an ideal couple. I think he is genuinely remorseful, but finally has decided to do what is best for him! (HOORAY!) I hazard to guess that it was an easy sacrifice prior to the 'movie' starting: companionship, ease of burden of grief, being active, etc., UNTIL he realized he could do much better than that.
(LOL "saviour", can you tell I'm a Canuck hah!)
I am totally with you on him being sincere that she was his savior, and totally with you that savior does not equal love. It sounds lovey dovey that she brought meaning back into his life, still there is something missing from his declarations at the lake. He is appreciative of her providing a distraction so that he could escape the memory of his dead wife. How unromantic.. For the longest time, I have been torn re: the real meaning behind Elsa's "oh, how unromantic" comment. I mean, from our perspective, knowing (a good deal of) the whole picture, it totally seems unromantic, but what was it really like for her? The way she looks up at Georg from beneath her lashes sort of says to me that she is flattered and she appreciates the comment, but gives it back to him with a cheeky dose of sarcasm. I tend to always land on the flattery part with a bit of teasing. She's obviously a shallow human: when she tells Georg that she is amusing, has the finest coutourier in Vienna, and gives some rather gay parties? Why not add "saviour" to the list? When your life's work is maintaining this facade, I doubt that "saviour" is one she has been called before, so why not be flattered? I guess the answer to this question is whether or not she really sees these superficial things as her best qualities - and I'd bet money on the idea that she does.
I think her comments at this moment further contrast her from Maria who has more 'bite', so to speak, and we know Georg is uncomfortable with her proclamation when she adds that she is searching 'just like him' (insert dreamy, puppy-dog-eyes, and drooling face here).
|
|
|
Post by reverendcaptain on May 23, 2022 19:40:16 GMT
Can we go back to this scene for a second? Elsa: My dear, is there anything you can't do? Maria: Well, I'm not sure I'll make a very good nun. Georg: oh ho ho (the look between G&M that I want to talk about) Elsa: If you have any problems, I'd be happy to help you. After Georg laughs, Maria flashes him a very genuine smile. I know we've talked before about her lack of suitability at the convent potentially being an inside joke between them, hence this look they share, but it wasn't a conspiratorial smirk, it was a full smile. Has she already decided that she doesn't belong at the convent (for reasons other than being in love with him because that hasn't happened yet)? Has she voiced this to Georg? Does he know some big secret and this smile is her thanks to him for being someone she could talk to about it? I can't find a perfect screencap. This is the best I can find. Attachments:
|
|
|
Post by missisa on May 23, 2022 20:32:51 GMT
reverendcaptain do you maintain that in that period of time between the Apology and the Puppet show, an authentic friendship was born between them beyond the professional or family relationship? a relationship of trust in which they tell each other who they really are and open their hearts to each other as good friends, without the burden of doing something forbidden? Well, gotta get some air...
|
|
|
Post by reverendcaptain on May 23, 2022 22:22:06 GMT
Yes, that is what I was saying. It is unlikely, but there is something in that smile that just hooked me today and got my mind racing all over the the place. What if they were close but non-romantic friends? It would explain them being so comfortable in each other's space (when he's very very much impressed and then again when she's offering him the guitar). They are friends. They keep each other's secrets. Then Edelweiss happens and Georg is so moved with the memories it brings up of happy family times/his devotion to Austria/his friendship with Maria/his happiness over gaining his children back, that he is vulnerable enough to start to acknowledge that maybe there is more to it than just friends and confidants. That is why he starts singing just to her, even though they are not alone, so doing so is highly inappropriate. She, of course, feels the same way about him. Hence, her dreamy reaction to his singing.
|
|
|
Post by indigoblue on May 23, 2022 23:51:19 GMT
Just looking at their body language (particularly Maria's), has convinced me for a long time that they have established a deepening respect for each other in the missing part of the story. I don't think she would have been so relaxed, or had such 'open' body language unless this was the case, because it makes her potentially vulnerable to him. When you think how sarcastic and pointed he was at the beginning, she would have had more negative body language by now if he had continued in that manner. But instead, facing him full-on, the broad smiles, the lingering looks, the laughter all point to them having talked and liked what they heard, so that when he gets very very impressed, it is because he wants to very very impress her, and she gets that.
|
|
|
Post by missisa on May 24, 2022 8:49:40 GMT
I agree that a relationship of trust was forged between them in that period since the Apology, however, from my point of view it was not so much a relationship of close friends (at least openly confiding). There continues to be a physical distance or certain objection to the inappropriate (the scene described by reverendcaptain can be cute but most of all i'd say is awkward). Rather, the doors were open wide, they put aside the inicial confrontation and they became people who like and trust each other but I don't think they certainly got to tell each other secrets. In fact, someone like the Captain would never open his heart so easily, no matter how much trust he had in a person, at least not until he had become more intimate which is not the case yet 😅
|
|
|
Post by indigoblue on May 24, 2022 23:07:18 GMT
I agree about G&M unexpectedly finding common ground, honesty and trust to share and drive their friendship, but I think that was exactly the thing that also made him fall for her. I don't think he chose to fall in love with her, it just happened as a natural consequence of this and the circumstances in which he was looking for a wife and mother for his kids. He may have been the one who was least expecting it!
Maybe they had been in a situation alone together where they were discussing something to do with the children - a trip or something in the future - and he had asked when she was planning to return to the Abbey in September. She might have responded that she wasn't sure that the Abbey was the place for her anymore, and he might have replied that he was impressed by her relationship with the kids, and said she was welcome to stay on at the villa. I could see that she would have been delighted with this show of approval, and maybe the ensuing positive conversation opened both their eyes to the appealing attributes of the other...? A few more encounters like this and you would have a sea-change in how they viewed each other, giving the exchange after the puppet show in the screeencaps above.
|
|
|
Post by augiesannie on May 28, 2022 23:44:48 GMT
Yes, I like the idea that through their shared connection to the children, they got more comfortable with each other, probably laughed together at their antics, etc. I've always liked to think that Georg is thinking to himself that this girl has no business becoming a nun, she's not cut out for it. And Maria is seeing the man beneath the initially frosty interior. Maybe he opens up a bit with stories about his late wife. That's why she can throw herself open to him (my avatar!) I don't know if I see them becoming trusting besties. If only because of the social chasm between them.
|
|
|
Post by Chris&Byng on Jun 19, 2022 0:36:12 GMT
Can we go back to this scene for a second? Elsa: My dear, is there anything you can't do? Maria: Well, I'm not sure I'll make a very good nun. Georg: oh ho ho (the look between G&M that I want to talk about) Elsa: If you have any problems, I'd be happy to help you. After Georg laughs, Maria flashes him a very genuine smile. I know we've talked before about her lack of suitability at the convent potentially being an inside joke between them, hence this look they share, but it wasn't a conspiratorial smirk, it was a full smile. Has she already decided that she doesn't belong at the convent (for reasons other than being in love with him because that hasn't happened yet)? Has she voiced this to Georg? Does he know some big secret and this smile is her thanks to him for being someone she could talk to about it? I can't find a perfect screencap. This is the best I can find. Ok, I was just looking at your screen cap and I just noticed what Elsa and Maria are wearing (duh, we know what they are wearing), but I realized just now that the PROPORTIONS are the same and the styles they are wearing are somewhat similar - just one is more glitzy than the other. There's the waist band and the amount of space above is the same. Skirts are obviously different. Anyway, just seeing the two of them from this angle and 'frozen' made me go hmmm...
|
|
|
Post by Chris&Byng on Jun 19, 2022 0:37:46 GMT
Yes, that is what I was saying. It is unlikely, but there is something in that smile that just hooked me today and got my mind racing all over the the place. What if they were close but non-romantic friends? It would explain them being so comfortable in each other's space (when he's very very much impressed and then again when she's offering him the guitar). They are friends. They keep each other's secrets. Then Edelweiss happens and Georg is so moved with the memories it brings up of happy family times/his devotion to Austria/his friendship with Maria/his happiness over gaining his children back, that he is vulnerable enough to start to acknowledge that maybe there is more to it than just friends and confidants. That is why he starts singing just to her, even though they are not alone, so doing so is highly inappropriate. She, of course, feels the same way about him. Hence, her dreamy reaction to his singing. Omg - LOVE this
|
|
|
Post by indigoblue on Jun 24, 2022 23:38:52 GMT
I love this wonderful slide they do, from individually regarding each other as very admirable beings, but still separate entities, to realising that it is a mutual respect, and also in becoming intensely passionate, their worlds are becoming entwined almost without their wills.
Dreamy stuff!
|
|
|
Post by augiesannie on Jul 2, 2022 13:24:49 GMT
Can we go back to this scene for a second? Elsa: My dear, is there anything you can't do? Maria: Well, I'm not sure I'll make a very good nun. Georg: oh ho ho (the look between G&M that I want to talk about) Elsa: If you have any problems, I'd be happy to help you. After Georg laughs, Maria flashes him a very genuine smile. I know we've talked before about her lack of suitability at the convent potentially being an inside joke between them, hence this look they share, but it wasn't a conspiratorial smirk, it was a full smile. Has she already decided that she doesn't belong at the convent (for reasons other than being in love with him because that hasn't happened yet)? Has she voiced this to Georg? Does he know some big secret and this smile is her thanks to him for being someone she could talk to about it? I can't find a perfect screencap. This is the best I can find. Ok, I was just looking at your screen cap and I just noticed what Elsa and Maria are wearing (duh, we know what they are wearing), but I realized just now that the PROPORTIONS are the same and the styles they are wearing are somewhat similar - just one is more glitzy than the other. There's the waist band and the amount of space above is the same. Skirts are obviously different. Anyway, just seeing the two of them from this angle and 'frozen' made me go hmmm... brilliant insight about the clothes.
|
|
|
Post by reverendcaptain on Feb 16, 2023 20:19:15 GMT
Right after "My dear, is there anything you can't do?" Georg gives Elsa the side eye (for good reason, in my opinion). But then, she gives him the side eye back. I can't find a good screen cap. I assume that she is looking for his reaction to her question, but is she hoping that he is pleased that she is interacting positively with the governess, or hoping that he understands that she is being sarcastic in order to let him know that he is acting too impressed with Maria?
Also, after Elsa walks out of the room first, Maria's smile fades and she looks for a second to be upset. Did she realize Elsa was being rude to her? Or maybe she was wishing she was back talking to Georg instead of having been interrupted by Elsa? Or maybe she was just as confused as everyone else as to how Elsa was going to be helpful in the nun department?
Thoughts on Elsa's side glance and Maria's final reaction in this scene?
|
|
|
Post by indigoblue on Feb 18, 2023 0:43:04 GMT
My thinking is that Elsa's sideglance is a sarcastic warning to Georg that he has been too matey with Maria.
But the next bit is a favourite of mine, which we talked about some time ago: I'm pretty sure that, normally the Master of the House would go through the doors first, and the governess afterwards (as his staff). However, Georg waits and gives a little bow to Maria, which is to indicate that she should go through before him (a measure of his new respect for her) - at which Maria gets that worried look, unsure what to do - remain where she should be, or go ahead as indicated. So she does go ahead through the doors before him - but if you watch him as he follows, he is eyeing her up for all he is worth!
I'm trying to think whether there are any more situations when Maria and he go through a door, to see who goes through first.
|
|
|
Post by augiesannie on Feb 20, 2023 19:23:12 GMT
Chris&Byng is an expert in doors *winks* anyway, I finally had time to go watch all of this side eye stuff in slow motion. as well as the door bit. do you get the feeling that Georg is positively hauling Elsa out of there, as though to avoid a confrontation (which he gets anyway?) I LOVE the censorious side eye he throws Elsa, and I definitely think, reverendcaptain, that Elsa's return side eye is sarcastic and intended to send Georg a signal that he has gotten too cozy with Maria. I think Maria's smile fades because she was liking the attention from Georg, and Elsa has rather put her in her place. Also, when Maria says she won't make a very good nun, is this really a polite self-deprecating example of how she can't do everything, or is she expressing - maybe without realizing it? or is she learning how to flirt? - that there is another way of life that is starting to appeal to her. And after "I'd be happy to help you," Georg's expression changes, too, to one of annoyance, I think, just before he makes that little bow to Maria. I love that awkward moment indigoblue. Is he making it up to her for Elsa's snark?
|
|
|
Post by indigoblue on Feb 20, 2023 23:30:27 GMT
He may well be, although I also like to think of the time that has passed since The Apology, during which he has become very aware of Maria's admirable qualities.
What I love as well, is how Elsa doesn't really see the little 'dance' that goes on behind her between Georg and Maria!
|
|
|
Post by reverendcaptain on Mar 2, 2023 0:39:47 GMT
do you get the feeling that Georg is positively hauling Elsa out of there, as though to avoid a confrontation (which he gets anyway?) Yes. He almost seems like he is pulling her forward faster than she wants to go. And look at the space between them. Contrast this to their body language when we last saw them together by the lake. They had their arms around each other on the walk out and were holding hands on the walk back. The rift has already been created by the time of the puppet show.
|
|
|
Post by augiesannie on Mar 2, 2023 1:18:35 GMT
“Rift,” before this thread I wouldn’t have thought of it that way, reverendcaptain, but you are right!
|
|