Bronnen bij Denkmethoden: gezond verstand en intellectualisme

Niemand ontkent dat het gebruik van het intellect van grote waarde is. Maar kennelijk weinig mensen beseffen dat net als bij alle andere zaken ook bij het gebruik van het intellect ook een bovengrens is. Dat gebrek aan besef van een bovengrens blijkt ten duidelijkste uit de vooral bij intellectueel-bezigen nauwelijks tot niet te onderdrukken neigingen tot diverse vormen va absolutisme, met als meest bekende die van de ideologie. In alle universitaire vakken waar het "met de neus op de feiten gedrukt worden" niet een inherent deel is van opleiding en uitvoeringspraktijk, dat wil zeggen: alle niet-natuurwetenschappelijke vakken, is ideologie en absolutisme vrijwel totaal losgeslagen.

Een constatering van het gezonde verstand, die dan ook alleen maar door mensen met gezond verstand gemaakt kan worden. Hier een voorbeeld (van imsdb.com, opgeslagen 16-08-2014 uitleg of detail ):
  "REAR WINDOW"

by

John Michael Hayes

Based on a short story

by

Cornell Woolrich

Final Draft

December 1, 1953


FADE IN:

INT. JEFFERIES' APARTMENT - DAY - LONG SHOT

Although we do not see the foreground window frame, we see the whole background of a Greenwich Village street.

We can see the rear of a number of assorted houses and small apartment buildings whose fronts face on the next cross-town street, sharply etched by the morning sun.

Some are two stories high; others three; some have peake roofs, others are flat. There is a mixture of brick and wood and wrought iron in the construction.
...

THE CAMERA PULLS BACK until a large sleeping profile of a man fills the screen. It is so large that we do not see any features, but merely the temple and side of the cheek down
which a stream of sweat is running.
...
ANNOUNCER
The time -- 7:15 A.M., WOR, New York.
The temperature, outside, 84 --
Friends -- is your life worth one
dollar?
...
THE CAMERA NOW PULLS BACK SWIFTLY and retreats through the
open window back into Jefferies' apartment. We now see more
of the sleeping man. THE CAMERA GOES IN far enough to show a head and shoulders of him.

He is L. B. JEFFERIES. A tall, lean, energetic thirty five, his face long and serious-looking at rest, is in other circumstances capable of humor, passion, naive wonder and the kind of intensity that bespeaks inner convictions of moral strength and basic honesty.

He is sitting in an Everest and Jennings wheelchair.

THE CAMERA PANS along his right leg. It is encased in a plaster of Paris spica from his waistline to the base of his toes. Along the white cast someone has written "Here lie the broken bones of L. B. Jefferies."

THE CAMERA PANS to a nearby table on which rests a shattered and twisted Speed Graphic Camera, the kind used by fast-action news photographers.

Oftewel: dit is het script van de Hitchcock-film "Rear Window", één van zijn klassiekers. De hoofdpersoon is gekluisterd aan een rolstoel in zijn appartement en gaat zich vermaken met kijken naar de buren. Om als film in zo'n situatie te kunnen werken moet de spanningsboog (mede) komen van zaken als conversatie en dialoog. Een van de topics is de strijd tussen verstandig-handelen en de verleidingen om dat niet te doen. Eerst het gezonde verstande verstand even voorstellen:

  INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

Jeff is seated in the foreground, in a waist shot.

Behind him, the entrance door to his apartment opens.

STELLA McGAFFERY comes in. She is a husky, unhandsome, dark- haired woman who is dressed like a district nurse, with dark coat, dark felt hat, with a white uniform showing underneath the coat. She carries a small black bag.

Stella pauses on the landing to watch Jeff. He doesn't appear to notice her entrance.

STELLA
(Loud)
The New York State sentence for a peeping Tom is six months in the workhouse!

He doesn't turn.

JEFF
Hello Stella.

As she comes down the stairs of the landing, holding on the wrought iron railing with one hand:

STELLA
And there aren't any windows in the workhouse.

She puts her bag down on a table. It is worn, and looks as if it belongs more to a fighter than a nurse. She takes off her hat coat, and hangs them on a chair.

STELLA
Years ago, they used to put out your eyes with a hot poker. Is one of those bikini bombshells you always watch worth a hot poker?

He doesn't answer. She opens the bag, takes out some medical supplies: a thermometer, a stop watch, a bottle of rubbing oil, a can of powder, a towel. She talks as she works.

STELLA
We've grown to be a race of peeping Toms. What people should do is stand outside their own houses and look in once in a while.
(She looks up at him) What do you think of that for homespun philosophy?

A look at his face shows he doesn't think much of it.

JEFF
Readers' Digest, April, 1939.

STELLA
Well, I only quote from the best.

Dat was de voorstelling van de twee antagonisten.
   Dan de min-of-meer expliciete formering van de ervaringen van het gezonde verstand met het intellect - de specifieke toepassing: relatie en huwelijk, is niet relevant:
  INT. JEFF'S APARTMENT - DAY - MEDIUM SHOT

Jeff starts to protest.

JEFF
Now look, Stella --

She shoves the thermometer into his mouth.

STELLA
See it you can break a hundred.

As she leaves him holding the thermometer THE CAMERA PULLS BACK as she crosses to a divan. She takes a sheet from underneath, and covers the divan with it. Talking, all the time.

STELLA
I shoulda been a Gypsy fortune teller, instead of an insurance company nurse. I got a nose for trouble -- can smell it ten miles away. (Stops, looks at him) You heard of the stock market crash in '29?

Jeff nods a bored "yes."

STELLA
I predicted it.

JEFF
(Around thermometer)
How?

INT. JEFF'S APARTMENT - DAY - SEMI-CLOSEUP

Stella stops for a moment, and looks at Jeff challengingly.

STELLA
Simple. I was nursing a director of General Motors. Kidney ailment they said. Nerves, I said. Then I asked myself -- what's General Motors got to be nervous about? (Snaps her fingers) Overproduction. Collapse, I answered. When General Motors has to go to the bathroom ten times a day -- the whole country's ready to let go. ["to let go" kan vertaald worden met zowel "plassen" als "verkopen"; red.]

INT. JEFF'S APARTMENT - DAY - CLOSEUP

A patient, suffering look comes over his face. He takes out
the thermometer.

JEFF
Stella -- in economics, a kidney ailment has no relationship to the stock market. Absolutely none.

STELLA
It crashed, didn't it?

Jeff has no answer. Defeated, he puts the thermometer back into his mouth.

INT. JEFF'S APARTMENT - DAY - CLOSEUP

Stella goes on with her work.

STELLA
I can smell trouble right in this apartment. You broke your leg. You look out the window. You see things you shouldn't. Trouble. I can see you now, in front of the judge, flanked by lawyers in blue double- breasted suits. You're pleading, "Judge, it was only innocent fun. I love my neighbors like a father." -- The Judge answers, "Congratulations. You just gave birth to three years in Dannemora."

THE CAMERA PANS HER over to him. She takes out the thermometer, looks at it.

JEFF
Right now I'd even welcome trouble.

STELLA
(Flatly)
You've got a hormone deficiency.

JEFF
How can you tell that from a thermometer!

STELLA
Those sultry sun-worshipers you watch haven't raised your temperature one degree in four weeks.

She gets down the thermometer. Sterilizes it with a piece of alcohol-soaked cotton in her other hand.

She gets behind the wheelchair the CAMERA PULLS back as she pushes it over to the divan. She puts the thermometer away in its case. Then she helps him off with his pajama top. She helps him stand on one foot.

He hops one step, then she lowers him, face down, on the divan. She gets a bottle of rubbing oil.

INT. JEFF'S APARTMENT - DAY - CLOSE SHOT

The CAMERA is very low at one end of the divan. Jeff's head, half-buried in the sheet, is large in the fore-ground.

Beyond him Stella looms large and powerful-looking.

JEFF
I think you're right. There is going to be some trouble around here.

Stella takes a handful of oil, slaps it on his back. He winces.

STELLA
I knew it!

JEFF
Don't you ever heat that stuff up.

STELLA
Gives your circulation something to fight.
(Begins massaging his back)
What kind of trouble?

JEFF
Lisa Fremont.

STELLA
You must be kidding. A beautiful young woman, and you a reasonably healthy specimen of manhood.

JEFF
She expects me to marry her.

STELLA
That's normal.

JEFF
I don't want to.

STELLA
(Slaps cold oils on
him)
That's abnormal.

JEFF
(Wincing)
I'm not ready for marriage.

STELLA
Nonsense. A man is always ready for marriage -- with the right girl. And Lisa Fremont is the right girl for any man with half a brain, who can get one eye open.

JEFF
(Indifferent)
She's all right.

She hits him with some more cold oil. He winces again.

STELLA
Behind every ridiculous statement is always hidden the true cause.
(Peers at him)
What is it? You have a fight?

JEFF
No.

STELLA
(After a pause)
Her father loading up the shotgun?

JEFF
Stella!

STELLA
It's happened before, you know! Some of the world's happiest marriage have started 'under the gun' you might say.

JEFF
She's just not the girl for me.

STELLA
She's only perfect.

JEFF
Too perfect. Too beautiful, too talented, too sophisticated, too everything -- but what I want.

STELLA
(Cautiously)
Is what you want something you can discuss?

Jeff gives an exasperated look.

JEFF
It's very simple. She belongs in that rarefied atmosphere of Park Avenue, expensive restaurants, and literary cocktail parties.

STELLA
People with sense can belong wherever they're put.

JEFF
Can you see her tramping around the world with a camera bum who never has more than a week's salary in the bank?
(Almost to himself) If only she was ordinary.

Stella sprinkles powder on his back, spreads it around.

THE CAMERA PULLS BACK as she helps Jeff to a sitting position. He buttons on his shirt.

STELLA
You're never going to marry?

JEFF
Probably. But when I do, it'll be to someone who thinks of life as more than a new dress, a lobster dinner, and the latest scandal. I need a woman who'll go anywhere, do anything, and love it.

THE CAMERA MOVES IN as she helps him into the wheelchair, listening to him with exaggerated attention. He, stops as he notice her attitude. Then he goes on with less conviction:

JEFF
The only honest thing to do is call it off. Let her look for somebody else.

STELLA
I can just hear you now. "Get out of here you perfect, wonderful woman! You're too good for me!"

JEFF
(After pause)
That's the hard part.

She swings him around in front of the window. He starts to look out.

STELLA
Look, Mr. Jefferies. I'm not educated. I'm not even sophisticated. But I can tell you this -- when a man and a woman see each other, and like each other -- they should come together -- wham like two taxies on Broadway. Not sit around studying each other like specimens in at bottle.

JEFF
There's an intelligent way to approach marriage.

STELLA
(Scoffing)
Intelligence! Nothing has caused the human race more trouble. Modern marriage!

Sterk gesteld, maar met een dikke kern van waarheid.


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17 aug.2014