The Nod

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hull_street
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The Nod

#1 Post by hull_street » Sun Jun 27, 2004 7:36 pm

Here's one to chew on: After the fire alarm, when Charlotte and Bob are in the elevator returning to their rooms, did anyone else catch "the nod" ? Not once, but *twice*. After what had happened between them that day, what the heck did he think he was doing ?

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Re: The Nod

#2 Post by jeffyen » Sun Jun 27, 2004 10:36 pm

hull_street wrote:Here's one to chew on: After the fire alarm, when Charlotte and Bob are in the elevator returning to their rooms, did anyone else catch "the nod" ? Not once, but *twice*. After what had happened between them that day, what the heck did he think he was doing ?
I think it shows the 'professionalism' between the two. Right from the start when they listened to Scarborough Fair, they have been respectful towards one another. And right to the end that respect remains.

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#3 Post by jeffyen » Sun Jun 27, 2004 10:40 pm

Now waittt a minute Hull, after the fire scene, they're at the bar listening to WooHoo?! What happened that day was GOOD! LOL

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#4 Post by hull_street » Sun Jun 27, 2004 11:32 pm

Good point. But after finally working his way out of the doghouse over the Jazz Singer Incident, it seemed really bad judgement to try to get her to come to his room, even if it _was_ the last night they'd have together. Guess you can't blame the guy for trying, though.

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Re; The Nod

#5 Post by phillygalinutah » Sun Jun 27, 2004 11:32 pm

I'm not sure what you mean by the nods. Will I have to pull out my DVD and watch this scene (not that I don't mind watching LIT)?

What I do remember from the bar scene is Bob finally verbally expressing to Charlotte how he feels about her. Up to the bar scene, he was evasive verbally about them. They're holding hands on the table. Bob tells Charlotte he doesn't want to leave Toyko. Charlotte tells him, "then don't leave", but humorously adds we'll start a jazzband together. Notice how quicky Bob pulls his hand back. What a great "lost in translation" moment. I think Bob interpreted her remark that she wasn't taking his revelation in the serious heartfelt way he intended. Bob was unsure of himself, and that maybe their connection in that week was nothing more than a close friendship. I'm not sure Charlotte really meant her remark to brush off a more serious relationship possibility. She continued to gaze at him in a loving way. She had much less invested in her marriage; I think if Bob had pursed his discussion further with her, she likely would have considered a further romantic liaison with him.

Later, in the elevator, both are so awkward knowing they won't see each other again after tomorrow, yet not really properly expressing how much each other will miss the other. Another missed opportunity. It's heartbreaking to watch Bob's eyes as Charlotte exits the elevator. I think both were expecting the other to "make the first move" in the elevator, but misinterpreted or didn't act on their feelings.

Regardless, of Scarlett's interviews stating her character loved her husband, and wouldn't have left him for Bob, LIT is a beautiful simple tale of two unlikely people meeting due to the fact they are found to be in the same lost situation.
"Everyone wants to be found"

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#6 Post by hull_street » Mon Jun 28, 2004 12:19 am

I'm not sure what you mean by the nods. Will I have to pull out my DVD and watch this scene (not that I don't mind watching LIT)?
You know it ! Any excuse to watch LiT is a good excuse, though. While they are riding the elevator up, Bob tilts his head ever so slightly toward the door in a "come with me" kind of motion, which Charlotte tactfully chooses to ignore.
What I do remember from the bar scene is Bob finally verbally expressing to Charlotte how he feels about her. Up to the bar scene, he was evasive verbally about them. They're holding hands on the table. Bob tells Charlotte he doesn't want to leave Toyko. Charlotte tells him, "then don't leave", but humorously adds we'll start a jazzband together. Notice how quicky Bob pulls his hand back. What a great "lost in translation" moment.
Charlotte was simply stating the obvious: The idea of their relationship moving to another level was simply unthinkable. The "we'll start a jazz band" quip is my favorite line of the whole film. I wish they had chosen to show her saying it, although Bob's reaction was important.
I think Bob interpreted her remark that she wasn't taking his revelation in the serious heartfelt way he intended. Bob was unsure of himself, and that maybe their connection in that week was nothing more than a close friendship. I'm not sure Charlotte really meant her remark to brush off a more serious relationship possibility. She continued to gaze at him in a loving way. She had much less invested in her marriage; I think if Bob had pursed his discussion further with her, she likely would have considered a further romantic liaison with him.
No chance. Charlotte's not 100% sure about her marriage, but there is no way she would have considered anything further with Bob, especially after his violation of her trust with the Jazz Singer. The look on her face when she realized Bob was not alone in his room that morning really told the whole story.
Later, in the elevator, both are so awkward knowing they won't see each other again after tomorrow, yet not really properly expressing how much each other will miss the other. Another missed opportunity. It's heartbreaking to watch Bob's eyes as Charlotte exits the elevator. I think both were expecting the other to "make the first move" in the elevator, but misinterpreted or didn't act on their feelings.
I think the real problem for them is finding the right way to express their feelings, which is really the whole core of the film. How do you show respect and affection to a person who has had such a positive effect on your life in such a short timespan, without jeopardizing your friendship or your marriage? It's very much a tightrope walk, and the real genius of this film.

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#7 Post by gtw65 » Mon Jun 28, 2004 11:47 pm

I must tell you that Charlotte's line "stay with me, we can start a jazz band", was my favorite line in the entire film. Her sarcasm is wonderful. The rest of the film is filled with Bob's sarcastic comments. This was her moment. If she not met Bob, she would not have had it in her. The jaded Bob wanted to stay "I don't want to leave" (the place that he once referred to as prison) and Charlotte delivered the mail!! That scene is LIT! And its what the film is ALL about!

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Re: The Nod

#8 Post by phillygalinutah » Tue Jun 29, 2004 12:22 am

Sorry, I haven't dropped my DVD back in my recorder to watch the elevator scene again. I'll take your word Bob nodded. :wink: Perhaps Charlotte was just tired, and missed Bob's nod cues :roll: (LOL - just another LIT communication!)

As a woman, I guess I'd be upset too that Bob only "comes clean" and admits he doesn't want to leave ONLY after I catch him in bed with another woman and he sees the "hurt" expressed on my face. Charlotte's husband sure wasn't attentive to her, and she was pretty plaintive she wanted a man's personal attention that she was "special" too, but Bob's weak moment reflected that an affair with Bob wouldn't solve the attention and communication lacking in her marriage. If only Charlotte wouldn't have continued to stare lovingly at Bob after he removed his hand. Mixed signals to me.

Yes, this film was a 'tightrope act' with their short relationship. A lot DIDN'T happen between them, but I loved this movie anyway because I felt their short encounter "awakened" both of them not to give up so easily on themselves, others or their marriages, and that possibilities did exist for them to have meaningful relationships with others.
"Everyone wants to be found"

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#9 Post by jm » Sat Jul 24, 2004 6:43 pm

I missed this earlier. Anyway, the gentleman or lady is attempting to suggest that Bob was asking if she wanted to screw. I reject this interpretation.
Last edited by jm on Sat Feb 17, 2007 2:57 pm, edited 1 time in total.

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#10 Post by hull_street » Sun Jul 25, 2004 7:53 pm

Whoa there, JM! I wasn't suggesting anything of the sort, but the underlying intent really is open for interpretation, given the circumstances.

On the surface, it appears to be a simple "hang out in my room again" kind of thing. But the reality is a bit more complex. It's the last night they'll have together, Bob has now verbally declared his affection for Charlotte (in a roundabout way), and Charlotte _was_ kind of giving mixed-signals (thanks for pointing that out, PhillyGal).

Once Charlotte's "idealistic bubble" around Bob had been popped, I don't think she was prepared to continue being as intimate with him as she had been. Lots of layers to sift through there. But in the end, I think Bob realized he was trying to recapture something that was already lost, and Charlotte knew it wasn't a situation she should put herself into. Just my 2 cents.

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#11 Post by jm » Sun Jul 25, 2004 8:18 pm

"[quote:57d67dafcb="hull_street"]Whoa there, JM! I wasn't suggesting anything of the sort, but the underlying intent really is open for interpretation, given the circumstances.[/quote:57d67dafcb]

OK, I'll buy that, and watch it again to see how much I like it.
:D"
Last edited by jm on Sat Feb 17, 2007 2:57 pm, edited 1 time in total.

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#12 Post by sooner77 » Mon Jul 26, 2004 5:25 pm

Bob and Charlotte fell in love, they both knew it, but the timing was all wrong. The last scene says it all, they were both heartbroken and finally expressed how they really felt about each other. Charlotte readily locked lips when Bob kissed her. Somehow that final goodbye was satisfying enough for the two of them that they could part feeling better about themselves.

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#13 Post by Blissbomb » Sun Aug 08, 2004 7:08 am

I counted three nods all getting increasingly bigger, one after the other. Pretty obvious hey!

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#14 Post by jlkd » Sun Aug 08, 2004 3:16 pm

This scene is always a bit painful for me to watch. At this point, the entire movie could have become just another May/December romance pic that seldom seems realistic to me or stayed its true course and become the unique film it is today.

For a while, I wondered if I was reading too much into those furtive “head nods.” You really can’t be sure if they were an innocent “come to my room and watch more TV” or “my bed.” At one point, after the 3rd nod, a very pained expression comes over his face. After Charlotte walks out, there is a real hesitation on his part whether he will follow her but quickly presses the elevator button to go back down to his floor. It appeared as if he was very, very close to following her back to her room.

There is a heartbreaking quality to that whole scene that struck me as awkwardly honest.

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#15 Post by jlkd » Sun Aug 08, 2004 3:21 pm

This scene is always a bit painful for me to watch. At this point, the entire movie could have become just another May/December romance pic that seldom seems realistic to me or stayed its true course and become the unique film it is today.

For a while, I wondered if I was reading too much into those furtive “head nods.” You really can’t be sure if they were an innocent “come to my room and watch more TV” or “my bed.” At one point, after the 3rd nod, a very pained expression comes over his face. After Charlotte walks out, there is a real hesitation on his part whether he will follow her but quickly presses the elevator button to go back down to his floor. It appeared as if he was very, very close to following her back to her room.

There is a heartbreaking quality to that whole scene that struck me as awkwardly honest.

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#16 Post by jm » Sun Aug 08, 2004 10:42 pm

I didn't see this during the 20 or so times I've watched the movie. No insult intended, but I can't let someone else talk me into a negative opinion of this scene when I already know what I think about it. There are two explanations for your coming up with this when no one else I've read (and I've read plenty) has: (1) you're a damn genuis, or (2) you're absolutely wrong. I have to chose number two.
Last edited by jm on Sat Feb 17, 2007 2:57 pm, edited 1 time in total.

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#17 Post by sooner77 » Mon Aug 09, 2004 2:29 pm

I've watched this movie a gazillion times and didn't catch "The Nods" until about the 10th viewing. They changed my opinion of Bob for the worse. Now I think Charlotte always had more invested emotionally in their friendship. She is obviously questioning her choice of marriage partner but when Bob slept with the singer and then hits on her in the elevator, it's tacky, Bob, very tacky. Shame on you.

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#18 Post by Guest » Mon Aug 09, 2004 6:12 pm

Since its premiere on STARZ, I've watched this scene about three more times. Actually, more than that since I have a hard disk recorder (PVR) and can play the scene back over and over. Most strikingly, the movie has a different look to me in 4:3 ratio vs. widescreen 16:9. I think I was able to see the subject "Nod" even more clearly. But, I'm still not sure if it is an alluring nod or simply a nervous and awkward twitch. You know how you have those uncomfortable silences at times? I find myself slightly shrugging my shoulders at someone if I find myself at a loss for words. I saw several of these inadvertent "head nods" at different times during the movie.

I'm not saying that he was or wasn't trying to coax Charlotte to his room. It's just not that clear cut.

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#19 Post by jlkd » Mon Aug 09, 2004 6:14 pm

I'm sorry. I forgot to log-in. I was the "guest." I keep messing up on this board. I apologize.

jlkd

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The Elevator Dance

#20 Post by ybrik2k » Sat Aug 21, 2004 11:28 pm

I watched the scene again after reading this and I have to say i think the "nods", as someone has written before me, are more about the awkwardness of the situation than about Bob trying to signal "hey Babe...wanna come to MY room?"

They both knew this was goodnight and possibly goodbye and they both wanted to acknowledge it with more than a handshake. So, I think Bob's nodding and Charlotte's nervous "looking away" were all about their anticipation of that goodbye...about inner conflicts with their feelings for one another --and about what they wanted to do -vs- doing "what's right."

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