Great Expectations

I did not post yesterday because I am working on a long piece about the Vincent Rice Family Trust. My uncle Vinny was like a father to me. He was my first Art Patron. For as long as I can remember he was the secret benefactor of five of the Prescos. He came to our rescue. He bailed Rosemary out of trouble time after time. Vinny did this for his wife, June Rosamond Rice, the eldest daughter of Royal Rosamond who was not around when his four daughters grew up. Nor was my father, Victor. Vincent utterly ignored this narcissistic Leo who demanded he be treated like a king, even though he did nothing for his four children, but torment them, abuse them. steal from them, and cast out his children for being disloyal to him. He is the true criminal that appear in the beginning of Great Expectations, accept, when he threatens to cut your liver out, he means it. Vic has no redeeming qualities. It was all about him until the day he died. Then there is the woman he wed, Rosemary. It was all about them, their undying love and hatred for one another. It had to be the greatest tragedy their four children would ever see, we forbiden to take an inner journey and be true unto ourselves, for, this was an attempt to escape, flee the Rose Theatre that was on fire.

In the latest version of this great movie, my mother appear, having rose from her grave. I was bowled over. Ann Bankcroft looked more like my aunt Lillian then Rosemary, but, my mother was archetypal. When Miss Dinsmore put music on the phonograph and danced her way to Pip, I was mesmerized by this visitation, for every time I came to the city of Los Angeles to visit my kindred, Rosemary would put on ‘Hello Stranger’ hold out her arms, and bid me to dance with her, dance for her, she believing only she could be the love of my life.

The real love of my life, Marilyn, witnessed this macabre reunion and ritual, that was incestuous. I had no choice. I had to endure my mother’s gaze deep into my eyes, that asked forbidden questions while Marilyn stood there on the sideline, she knowing better to confront Rosemary, who beat her up when she was sixteen, when this beautiful young woman went to confront Rosemary’s hold over me.
Rosemary took Mariyn by the hair and swung at her face as she shouted;

“No one tells me how to raise my son!”

Christine Rosamond Benton began her vanished autobiography, thus;

“Everyone thought my brother was going to be a famous artist one day, but, it was not to be!”

This world famous artist set out to break my heart, come between the true love of my life, my love of Art. There is nothing published about her struggle to BECOME an artist. There is nothing she could say that would take away from My Great Struggle, that eventually beat me down, bid me to put down my brush and cry; “Uncle!”

Rosemary and Lillian dated the famous actor Errol Flynn, and they fought over whom he loved the most, who he found the fairest of them all. As a gifted MALE artist I found myself in an incredible drama, I surrounded by beautiful women. Christine became famous for rendering beautiful women. Some of the paintings in this movie reminded me of Rosamonds. There is no adequate explanation as to why Christine painted women, but, that she was seeking her inner sel, a self that I and Rosemary conspired together to keep locked up and hidden from the world. Many folks believe this Great Lie -that reverses the Truth.

The truth is, I failed to become a world famous artist. But, am I a great artist – who has yet to deliver his masterpiece to those who would give me my due?

I am working on a very Big Canvas, as big as movie picture screen – and bigger!

In my next post I adobt Vicent and June as my parents, because they died childless, with no prodigy to carry on their dream, their great endeavor, for, we all have one. Estella and Pip are orphans in the world, who have one benefactor each, who when put side by side, you have Vic and Rosemary.

When you combine Christine’s and my story, you get……………………..?

Jon Presco

Francesco Clemente (born in Naples March 23, 1952) is an Italian and American contemporary artist. Influenced by thinkers as diverse as Gregory Bateson, William Blake, Allen Ginsberg, and J Krishnamurti, the art of Francesco Clemente is inclusive and nomadic, crossing many borders, intellectual and geographical. Dividing his time between New York and Varanasi, in India, he has adopted for his paintings a vast variety of supports and mediums, exploring, discarding, and returning to oil paint, watercolor, pastel, and printmaking. His work develops in a non linear mode, expanding and contracting in a fragmentary way, not defined by a style, but rather by his recording of the fluctuations of the self, as he experiences it. The goal is to embrace an expanded consciousness, and to witness, playfully, the survival of the ecstatic experience in a materialistic society.

Life and work
Following his architectural studies in Rome, Clemente travelled to Afghanistan with his friend Alighiero Boetti. Throughout the 1970s he exhibited works that reflected his interest in the contemplative traditions of India, where he lived for several years.[1] Since 1981 he has spent his time between New York City and India, where he collaborates with local artists. He has participated in numerous collaborative projects, painting with Jean-Michel Basquiat and Andy Warhol, and illuminating poetry by Robert Creeley, Allen Ginsberg, John Wieners, Rene Ricard and Salman Rushdie. Clemente is a member of American Academy of Arts and Letters. He still regularly works in India and lives in New York City with his wife Alba and their four children.
[edit] Career
[edit] 1980s
In 1981, he settled permanently in New York City. During the decade of the 1980s Clemente was featured in shows at numerous international venues including the Whitechapel Art Gallery, London, 1983; the Walker Art Center, Minneapolis, 1984 ; the Nationale Galerie, Berlin, 1984; the Metropolitan Museum of Art, New York, 1985 ; the Art Institute of Chicago, 1987 ; the Fundacion Caja, 1987; and the Dia Art Foundation, New York, 1988.
[edit] 1990s
Through the 1990s, surveys of Clemente’s work were exhibited by the Philadelphia Museum of Art[2]., the Royal Academy of Arts, London, the Centre Georges Pompidou, Paris and the Sezon Museum, Tokyo. In 1998 Clemente produced drawings and paintings for the film Great Expectations.
[edit] 2000 and after
In 1999/2000, the Solomon R. Guggenheim Museum in New York and in Bilbao organized a major retrospective of Clemente’s work. More recently his works were exhibited by the Irish Museum of Modern Art, Dublin (2004); the Rose Art Museum, Massachusetts (2004); Museo Maxxi, Rome (2006), Museo Madre, Naples (2009), Schirn Kunsthalle, Frankfurt (2011) and Uffizi Gallery, Florence (2011).

Great Expectations (1998 film)

Great Expectations is a 1998 contemporary film adaptation of the Charles Dickens novel of the same name, directed by Alfonso Cuarón and starring Ethan Hawke, Gwyneth Paltrow, Robert De Niro, Anne Bancroft and Chris Cooper. It is known for having moved the setting of the original novel from 1812-1827 London to 1990’s New York (The book was first published in 1861). The hero’s name has also been changed from Pip to Finn, and the character Miss Havisham has been renamed Nora Dinsmoor. Despite its popular and respected cast of actors, the movie received mixed reviews.

The movie begins with young Finnegan “Finn” Bell playing on a beach in the Gulf Coast. An escaped convict suddenly pops out of the water and overpowers him, making Finn promise to bring back food and medicine and a bolt cutter to get the iron shanks off his leg. Finn does, and the convict unexpectedly tries to make Finn take him by boat to Mexico. The police seize the small boat heading out to sea. The convict hides on a buoy, and Finn’s boat is towed back to shore. The next day, Finn sees on the news that the convict, mobster Arthur Lustig, had escaped from death row, but was recaptured and would face execution soon.
Finn’s uncle Joe is called to Paradiso Perduto (“lost paradise”), home of the richest woman in Florida, Ms. Nora Dinsmoor. She is a local mystery, having shunned virtually all human contact since she was left at the altar several years before. She ostensibly asks him there to do a gardening job, but instead she slips him a large sum of money under the door, calling it “gas money.” Meanwhile, Finn, who he brought along, meets Ms. Dinsmoor’s young niece Estella in the overgrown garden. Ms. Dinsmoor sees them interacting and calls Maggie (Kim Dickens), Finn’s sister, to ask her to let Finn be a playmate for Estella, even though Estella apparently dislikes him.
On Finn’s first visit, she is disappointed when the boy cannot dance for her, but is intrigued when he says he can draw. She forces Estella to sit for a portrait, which Finn draws with make up on an old piece of wallpaper. While he draws, Ms. Dinsmoor warns Finn that he will fall in love with Estella and have his heart broken. After the portrait session, Ms. Dinsmoor calls it a day and asks Estella to help Finn find the door. On the way out, she pauses to take a drink from a water fountain and politely offers him a drink from it as well. While Finn is drinking, Estella kisses him.
Several years pass. Maggie runs away from home and Joe raises Finn alone. Finn goes to Paradiso Perduto every Saturday, where he learns to dance with Estella. One day, Estella mentions that she has a party to attend. Ms. Dinsmoor is shocked that she does not have an escort to take her, so Finn volunteers to escort her. When Finn shows up at the party, he is not allowed in because he is not on the guest list. Estella shows up beside his pick-up truck and asks him playfully if he will take her to his house. Once they get there, Estella starts to seduce Finn, only to suddenly leave, claiming that she is very busy that night.
The next day, Finn goes to Paradiso Perduto, only to be told by Ms. Dinsmoor that Estella had left to study abroad in Europe. For the next seven years he resolutely puts Estella and Ms. Dinsmoor out of his mind, and gives up drawing.
One day, a lawyer comes to Finn and tells him that he will have a gallery show in New York City. In the end, Finn is convinced to go to New York, which Estella had once claimed was the art capital of the world. When he arrives, he immediately gets to work drawing again, since he has no pieces to put on exhibit. He takes a break to get a drink from a water fountain – where Estella appears and kisses him. She then invites him to afternoon tea with her at a high class club.
Finn arrives to tea with Estella and some of her friends — including her fiancé, Walter Plane, who makes fun of him by asking how much he would charge to draw a portrait of Estella. Finn then leaves in a hurry amid the laughter of Estella’s friends.
One day, Finn wakes up in his hotel room to see Estella standing next to him, reminding him that he had wanted to draw a portrait of her. While he prepares his sketch pad and charcoal, Estella takes off her clothes. After posing for a few sketches, Estella suddenly puts her clothes back on and leaves, saying that she is very busy. Growing sick of Estella’s games, Finn chases her out to a cab and asks why she is so cruel to him. Estella sadly explains that she was trained to act this way by her Aunt Dinsmoor.
Walter shows up at Finn’s hotel room one day, wanting to see the result of the portrait session. He then confesses to Finn that he thinks Estella is using Finn to push Walter into asking her to marry him and asks him how to please her. Finn has no idea how to respond, and Walter soon leaves.
The lawyer who had found Finn in Florida shows up again, moving Finn to a big studio where he can work on his art more comfortably. Finn quickly fills up the studio with his artwork as the opening date of his gallery draws nearer. He makes Estella say that she will be there.
One night, at an important event, Finn becomes frustrated when Walter draws Estella away when he barely even got to talk to her. He follows them to their dinner at a Chinese restaurant. As the bemused dinner guests look on, Finn asks Estella to dance. They dance for a few seconds and then leave the restaurant. Once on the sidewalk, they run for Finn’s art studio, where they make passionate love.
Finally, the opening night of Finn’s gallery show arrives. He looks everywhere for Estella but she is nowhere to be seen. Instead, Uncle Joe shows up, to Finn’s surprise and, to some degree, embarrassment. When Joe accidentally knocks a tray of wine glasses over and tries to clean up the mess, Finn repeatedly tells him with increasing volume to “just leave it.” Joe feels that he and his homely manners are an embarrassment to Finn and decides to leave early, despite Finn’s attempts to get him to stay. Finn then goes to Estella’s abode in New York, hoping to find her there, but instead he finds Ms. Dinsmoor, who had come up to New York for the “special event”: Estella’s wedding. When Finn becomes upset at this news, she says icily that she warned him when he was a child. At this, Finn tells Ms. Dinsmoor that she has broken his heart, the way her fiancé did to her all those years ago. Suddenly remorseful, Ms. Dinsmoor apologizes.
Finn returns to his studio to find a strange bearded man wanting to see him: It is none other than Arthur Lustig. Finn is at first incredulous, but then he becomes uncomfortable with the old man’s presence and implies that he should leave. As Lustig is walking out the door, he hints to Finn that he knows what Finn wants. Finn thus accompanies Lustig to the subway station, since Lustig has a plane to catch from the John F. Kennedy International Airport for Paris.
While they are waiting for a train, Lustig sees some unsavory acquaintances on the opposite platform. Finn and Lustig outmaneuver them and get on a train. They think they are safe, but as the train is in motion one of the old men comes through the car and brutally stabs Lustig in the side, stepping off the train at the next stop. As Lustig bleeds to death in Finn’s arms, he reveals that he has been Finn’s benefactor in return for the kindness Finn showed him as a child.
Devastated, Finn detaches himself from everything and goes to Paris to study art. He becomes successful in his own right, and eventually he goes back to Florida to visit his Uncle Joe and reconciles with him. Ms. Dinsmoor has since died, but he decides to visit her house anyway. As he is sitting in the garden, he thinks he sees the apparition of Estella as a child. He follows the little girl through to the back dock where he finds the child’s mother, who turns out to be Estella, who has since divorced. She admits that she has often thought of him, and asks for his forgiveness for her past cruelty. Finn forgives her completely, and the movie ends with them holding hands and looking out over the sea.

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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