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The Blue Cloak (True Colors)
The Blue Cloak (True Colors)
10
10.0 (1 Ratings)
Book Rating
Where to start on a book that sucks you in and doesn’t let go…

     The Blue Cloak by Shannon McNear summed up in one word is: STUNNING. When I started reading this book I could not stop thinking about the characters and their plights, Shannon McNear brought their thoughts and feeling to life in an almost tangible way that made me feel like I was right there experiencing the haunting twists and realizations with the characters. She weaved in such a thread of hope and light amidst all that happened for her characters that were a true reflection of the hope we need to pray for in our fallen world.

I was captivated from the first chapter of this true-crime story in a way that I do not think I have ever been by a book before. The historical detail and research that went into the writing of this book were phenomenal, it made the story even more eye-opening for me. I loved how Shannon McNear took the time at the end (in the author’s note) to explain several different aspects of the story and the historical documentation to back them up.

I truly loved the setting, the plot, and the three main characters in this book. When combined I think they made a truly stunning and captivating story that weaves a tale of faith, perseverance, trust, and hope amid unknowable tragedy. Shannon McNear did a great job portraying the darkness in our world but expressing the hope that we have in Jesus’ name.

I give this book a resounding 5 out of 5 stars for the amazing storyline, the historical details, and the great characters. I highly recommend reading this book and I am personally ordering a physical copy for my book collection.

*I volunteered to read this book in return for my honest opinion. The thoughts and opinions expressed within are my own.
  
Nattvardsgästerna (Winter Light) (1962)
Nattvardsgästerna (Winter Light) (1962)
1962 | International, Drama, Drama
(0 Ratings)
Movie Favorite

"This is a terrifying film to watch for any aspiring filmmaker worth his/her salt. One takes a look at it and soon realizes that it spells perfection. Not a reassuring realization when one is trying to enter the trade. The only thing that can mitigate somewhat this feeling is that Bergman himself expressed wonderment at what he had pulled off here, as if he weren’t entirely responsible for it and lady luck had been outrageously on his side. The conventional wisdom when one talks about Bergman is always to list the thematic bases he hits: the fundamental triviality of faith, the traumatic economy of unrequited love, etc. Better go small and more mysterious: this is a textbook of what drama is made of, each scene exploring relentlessly the perilous equilibrium of a situation, what makes it what it is, what will keep it there. Nothing ever comes to a trite conclusion in this film. Everything is suspended, held together by the contradictory forces that vie for the moment to be what they are, and as a consequence everything is resonant. It is so finely tuned that it can be unendurable: nobody has ever explored the savagery of gender relationships as accurately as Bergman, because nobody else has so detailed them as an ineluctable stasis. Yes, Bergman was right to wonder: there is a miracle at work here. It’s a film where the energies and the craft of the principals intersect so splendidly under the guidance of a director: the photographer’s eye (Sven Nykvist, who knows how to match the coldness of these souls with the cold dampness of the landscape outside); the actors’ bodies (Ingrid Thulin, her hands, wrecked by eczema, fussing around abjectly out of unrequited love for her pastor; Gunnar Bjornstrand, with a terminal case of the sniffles and an endless ability to tap into cruelty). Not a first-date movie, but it will do for the third. And, any time, a humbling lesson in film craft."

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