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British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Jones's Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytelling's most bastardised genre. But Curtis' most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.


About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its maker's stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. You'd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tim's conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.


Tim's story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because we're unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The film's lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.


Q. How did Curtis refrain from following the usual story arc?

  • a)
    He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.

  • b)
    He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.

  • c)
    He created a conflict in Tim's mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.

  • d)
    He used time travel to analyze the various elements of human nature and companionship.

Correct answer is option 'D'. Can you explain this answer?
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British filmmaker Richard Curtis has written iconic popcultural classi...
Option (b) is the correct answer as it explains as to 'how' Curtis circumvents the usual story arc by not over-emphasizing on the usual expectations from movies based on time travel.
Option (a) contradicts the information provided in the passage, while the other options are irrelevant.
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British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romanti c) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Loving someone, often, is a mechanism aimed at leaving something- Which of the following statements most appropriately justifies this point?

British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romanti c) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Which genre has been referred as to as the most bastardised genre initially in the passage?

British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romanti c) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. As mentioned in the passage, the word "subverts" means

British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romanti c) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Fortunately, he manages to be both selfless and selfish without compromising on the recipients of either trait. What can be inferred from this line in the context of the passage?

Relationships are how we relate to others. We have relationships with everyone we know and those who are close to us. Each and every interaction we have with another person is the act of relating. If we have a problem relating to others, it affects our ability to have supportive relationships. We have to ask ourselves if our relationships are supportive, and if they are not, then ask why they are not,Everyone wants the perfect romance or marriage, but not everyone looks at the mechanics of how to have one. If we fail to have supportive relationships in our life, how can we have the "perfect love" relationships? Through the act of supporting, we honour and validate who the other person is.This is turn, validates who we are. So, both are supported; no one loses; no egos are involved; and, so doing, we honour the relationship.This is what it means to have a supportive relationship. This is the desired goal. Now, how do we accomplish it?Our conduct patterns, positive or negative get set as we grow up. In order to clear a problem, one must identify the original cause which created a behavioural pattern, move through the experience of that situation and experience the emotions associated with it.The healing process is a time when we must love the self. If we beat up the self about the experience which had caused us harm or our past reaction to it, then we cannot heal. In being loving to the self, we validate what we had experienced at that time.Our emotions are always valid. So, it is important for us to do this self-validation in order to heal. Love is the energy which helps us heal-whether we give this love to ourselves or receive it from another.Loving relations start with the self. When we look at having supportive relationship in our life, why not start with the self?Because that is where love comes from. This is what transforms our relationships and our lives. We must love the self first. And we cannot do that until we have healed and become whole. Spiritually we must rise, and our spiritual quotient must be high.For, it is not about what we can receive from love, but what we can contribute or give to love. The more we give, the more are the returns.Q. How can we honour relationships?

British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer?
Question Description
British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? for Class 12 2024 is part of Class 12 preparation. The Question and answers have been prepared according to the Class 12 exam syllabus. Information about British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? covers all topics & solutions for Class 12 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer?.
Solutions for British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? in English & in Hindi are available as part of our courses for Class 12. Download more important topics, notes, lectures and mock test series for Class 12 Exam by signing up for free.
Here you can find the meaning of British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer?, a detailed solution for British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? has been provided alongside types of British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romantic) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. How did Curtis refrain from following the usual story arc?a)He used an innovative concept to revisualize a typical boy-meets-girl romance in a fun and breezy way.b)He made Tim abuse the cosmic gift of time travel like any red-blooded, teething male hero which led to various comic situations.c)He created a conflict in Tims mind that separates selfishness from selflessness and used the various instances in the movie to explain this narrative.d)He used time travel to analyze the various elements of human nature and companionship.Correct answer is option 'D'. Can you explain this answer? tests, examples and also practice Class 12 tests.
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