My need to hug Cristina Raines

On the very finish, of The Sentinel, a relentless is created. The precise that means of the fixed is that it’s a relentless which is legitimate regardless of being dependent. A continuing which is legitimate, is a distinction which is magic, after which a magic which is completely different which relies is a fact which is common which is free.
A fact is magic, no doubt. After which when that magic is given a “free” freedom, the magic is remodeled right into a compelled drive. Suffice to say, a compelled drive shouldn’t be essentially extra fascinating than a free freedom, however it’s maybe extra useful.
A compelled drive, after all, is nothing however freedom. And seeing as how magic may be equated to freedom, the general state on the very finish of the 1977 film is nothing extra complicated than only a magic that’s itself.
A magic which is magic is a actuality which isn’t a actuality – a actuality which is magic (and that is hopefully the place the article’s level begins to emerge). From a perspective, the very finish of The Sentinel – which sees Alison Parker act as a sentinel in an official capability – is definitely the literal state of magic being actual.
Usually, films, artwork and tales are the magic of illustration. They’re the magic of metaphor, and they’re the magic of symbolism. What all these issues aren’t nonetheless is precise magic (Tom Ford’s Nocturnal Animals, Chinatown and The Exorcism of Emily Rose all really feel like magic, however they aren’t magic); the very finish of The Sentinel is an outright departure from this rule.
Together with her face directed on the window, and with the digicam panning the again of her physique and the again of her head, Alison Parker – and by extension, Cristina Raines – is now in a film that she exists exterior of. Her head, and her physique at the moment are a state which has by no means been inside or been a part of anything, and but the state is spinoff of the remainder of the film – Alison Parker is now an origin which is after an origin.
An origin which is after an origin, is a continuing which is earlier than a relentless – a fact that has a hierarchy inside itself.
Between Cristina Raines and myself – Raines being linked to a relentless and myself being linked to a relentless – there exists the distinction between the US and the UK. There additionally exists the distinction between my period and the period when Raines made The Sentinel. There exists the distinction in relation to accent, and there exists the distinction of standing (Raines has had standing, whereas I’ve basically by no means had any standing). So many variations, but there exists a typical thread: Raines performed Alison Parker, who embodies a relentless, and I’m a real consultant of actuality.
Can a press convention grow to be a scientist? Do planets want teddy bears? Did atoms create the American accent as a technique to perceive the Roman Empire? Can the Vietnam Struggle write a film overview?
Who else is asking these questions?
My gravitation towards Cristina Raines is the very finish of The Sentinel; my need to hug Cristina Raines is my need to replicate the magic on the finish of The Sentinel. In 2018, after the Iraq Struggle, after 9/11 and after each normal election since 1977, Alison Parker continues to be within the lodge residence she’s in on the finish of The Sentinel, nonetheless dressed as a nun – after all, it isn’t true however I want to make it true. I need to assist Alison Parker be the fixed that she deserves to be, and to take action by being the consultant of actuality to Cristina Raines.
By giving Cristina Raines a hug, I can shield Alison Parker’s proper to stay alone, in her residence room.