The Card

Interesting at times to view entrepreneurial innovation, as applied to personal success, within stilted social confines.

Note then that in many a Dickens novel it can be quite difficult to earn a living, the Victorian era accordingly much stricter, and manifestly less forgiving.

Characters often run into difficulties and at times wind up in debtors's prisons, habitually stuck there for years on end with family in tow and scant means of escape. 

The Card takes an alternative approach to the uptight predicaments of the era, and shines forth ingenious particulates which fortuitously illuminate Edward Machin's (Alec Guinness) fortunes.

Oddly enough, while venturing forth, I often take note of random phenomena, striking ephemera that catches me eye, and results in poetic expenditure.

Whether it's the way the moonlight happens to highlight the bushes in a hearty swamp, or how indicative fluid movements seem to be naturally mimicking filmic discretion, unaware, I often take note of something, which then undergoes mutation.

In The Card, Machin approaches life in a corresponding way, yet his ideas inspire commerce to the general aggrandizement of his purse.

Thus, rather than thinking, egad, a mushroom, he comes up with creative ways to collect back rents, which result in hardly any evictions, and genuinely please worried landlords. 

Much like a Dickens hero, he isn't a cad or a vicious scoundrel, he even dutifully looks after his family as time passes throughout pressing life.

It's fun to watch as an ambitious upstart universally excels without recourse to cunning, his profits shared with his trusted mates, his honest success to their mutual confidence. 

It's like the opposite of many a ruthless tale of lucrative desire, so often celebrated indeed it's no wonder we're lodged in metaphysical disillusion. 

But cheerful stories still emerge posthaste and it isn't all übermensch versus union, I'm thinking of the quizzical Yes Man and even Belfast or Bohemian Rhapsody. 

Is it just that the mainstream's losing its audience and has to therefore resort to cataclysmic reckoning, or is this how people practically theorize the evolution of visual narrative through neomonarchism (The Trump Effect)?

Who knows really I can't imagine but I always thought blockbusters financed exceptions.

With the Oscars emergent new data materializes. 

Civilized millennia?

Recalcitrant scope!