How green was my rebellion.

So I was/am trying to do a "vagina-centric" kind of dialogue style, in the face of other styles.  Generally feeling the work has been ignored, and that through a fresh set of eyes, a different interpretive model has emerged.

And so I do combat with that interpretive model, described as "different" is actually the same old stuff, the "set A" ontology that I sought to get away from.

I was thinking also how "How Green Was My Valley" is kind of lost in time, yet it beat out "Best Movie Ever in Citizen Kane" at the Academy Awards in its year.  In truth, Valley should have just got the directing Oscar, but there is always some social engineering at play with the Oscars, I wot.

You wanna compare John Ford and Orson Wells?  First of all, Valley is set in "Wales", so there's your first point of contact, that Valley in a sense, was even then, though an enjoyable film, in the shadow, in the footprint of the more important film.  There are other vagueries involved, such as Wells "directing by committee" that so much of his stuff was either Mankiewicz or the production staff, and should not be considered emblematic of any supposed "Wells ingenuity".

Wells would soon after go the sentimental route with "The Magnificent Ambersons", but to a more dismal amount of fanfare, as if Hollywood were tiring of his very presence on the marquee.  One would wonder if Wells was trying to give them the sentimental things they craved in Hollywood with Ambersons, or whether it was just a novelty that stuck with him, or a Joseph Cotten vehicle.