Life is a mystery
Labels: Flower
The story opens after a young female student kills herself by jumping off a balcony. It's soon discovered that she was in fact stabbed, and the room arranged to make it look like a suicide. And so we begin. A few minor details lead Detective Kanzo (Akashiya Sanma) to suspect that Ryo (Kimura Takuya), an enigmatic chef's assistant, knows more about her death.The two have run into each other by chance a few times, and each time left Kanzo with an uncomfortable feeling. Every clue that is revealed seems to lead to more questions about Ryo, his obsessive girlfriend, his callous and manipulative relations with several women, and about a painful memory from Kanzo's past. Things get more complicated when a powerful love/hate relationship develops between Ryo and Kanza's little sister, the beautiful Yuko (Eri Fukatsu). What exactly is their connection? As the evidence (and body count) rises, Kanza tries desperately to save his sister from Ryo's influence. He's no saint, but is he the Devil Kanza thinks he is? And why? The answers will floor you, even when you think you've got them figured out already.
Labels: dorama
Casey Stoner is the latest Australian to take on the premier MotoGP class. In the tradition of Aussie greats like Gardner and Doohan, he’s doing it in undeniably Australian style. With guts, with glory and a mouth full of cheek for the competition. In 2005 Casey finished second in the 250cc class. In 2006 Casey moved to the 990cc premier class and in his rookie year took a pole position and a fantastic second place. Casey has signalled his intentions of being a consistent front runner in the new 800cc class this year by winning the first race of the year. Casey is training hard and determined to have his best year yet.
emang di awal kompetisi MotoGP 2007 Motor Ducati bagus banget,..apalagi kalo di trek lurus,pasti rossi kalah. Stoner emang gw akui bagus,kayaknya lawan tangguh di GP 2007 ini buat rossi. tp rossi ayo semangat terus,...don't give up.
Dia juga lumayan hebat. Cuma gw tetep setia ama rossi....MotoGP tanpa Rossi bagaikan F1 tanpa schummi....
Labels: MotoGP
It's funny how you think you really know yourself
Like you would never lose yourself to someone else
And I was up to thinking it was all about you and me
Silly silly me
I should have never listened to a word you said
But I was always giving in to promises
I never should have gone for
I should never long for you no matter how hard it gets
And I want this to be over
I so want this to be through
In the end somehow it always comes back to you
Cause everywhere I go
No matter what I do boy
I just can't get you out of my head
So it annoys me
(You wasn't man enough)
To come and tell me
(That I was never the one)
Like you said I was
(You could have told someone)
You knew you didn't love me anymore
If you had only told me how you really felt
I could have put my feelings into someone else
But I was busy thinkin' I was where I was supposed to be
Silly silly me
But there was something 'bout you that I couldn't resist
Can't put my finger on it but whatever it is
I never should have stood for it
I know you're no good for me
And that's the way it is
And I want it to be over
I so want it to be through
In the end somehow it always comes back to you
I tell myself
Get over you
It's over right
Right thing to do
And just when I thought I was done
You pull me in for another run
I can't take this
I won't take this
I can't do this
I Won't do it
Even if I know in the end somehow it always comes back to you
Labels: Lyrics
International Bestseller
Fenomenal, terjual lebih dari 15 juta kopi
Seorang pembunuh genius,
aroma perawan,
dan parfum terbaik...
Pembunuhan berantai yang misterius. Dua puluh lima gadis perawan tewas mengenaskan. Pakaian beserta rambut dan kulit kepala mereka hilang. Tubuh mereka benar-benar layu, seolah tak pernah hidup sebelumnya. Seakan seluruh daya hidup yang pernah ada telah terisap tak bersisa. Semua pembunuhan identik. Dilakukan dengan amat rapi dan terencana. Masterpiece seorang seniman genius.
Jean-Baptiste Grenouille lahir tanpa bau tubuh namun memiliki indra penciuman yang luar biasa. Ia mampu memilah-milah seluruh bau yang ada. Dari seorang ahli parfum ternama, ia mewarisi seni meramu berbagai minyak dan tumbuhan. Namun kegeniusan Grenouille melampaui itu semua. Setelah “menangkap” aroma seorang perawan cantik, ia terobsesi untuk menciptakan ‘parfum terbaik’ beraroma perawan!
Dituturkan dengan amat brilian, Perfume adalah kisah yang sungguh memikat tentang pembunuhan dan kegeniusan yang menyimpang. Novel bestseller yang eksotis dan sensasional ini membangkitkan rasa penasaran yang menakutkan tentang apa yang terjadi ketika bakat, hasrat, dan kecenderungan seseorang akan bau dan aroma mengubahnya menjadi seorang pembunuh. Membunuh demi ‘parfum terbaik’.
Ini review dr New York Times
PERFUME The Story of a Murderer. By Patrick Suskind. Translated by John E. Woods. 255 pp. New York: Alfred A. Knopf. $16.95.
PATRICK SUSKIND'S novel is a book of smells - the odors of history, in fact - and on the first page 18th-century Paris is anatomized into its component stinks. In its most fetid spot, beside a mephitic cemetery and beneath a fish stall, the hero of ''Perfume,'' Jean-Baptiste Grenouille, is born. But the point, the miraculous point, is that he has no smell at all. He is an orphan whose absence of body odor turns him, also, into an outcast - both damned and blessed, pariah and magician.
Grenouille himself is haunted by smells. He recognizes the odors of separate stones and of the varieties of water; he can locate even the most tremulous perfume from miles away; he can separate the simplest stench into its various elements - that of a human being, for example, being composed of cat feces, cheese and vinegar. As a child and young man, he survives as an outsider only through some stubborn instinct - deciding ''in favor of life out of sheer spite and sheer malice'' -but this means that in 18th-century France, in an age of ''reason'' and a time of ''progress,'' he is a barbaric intruder. For him, this is a world stripped bare of its more elegant trappings and organized around the one fundamental principle of smell.
Text:
His sole ambition is to become the greatest perfumer of all time; in order to conceal his own lack of odor he creates a perfume that ''did not smell like a scent, but like a human being who gives off a scent.'' He can even manufacture perfumes that create an exhalatory illusion, a phantom object lingering in the air. But his ambitions are fatal: not only does his company prove mortal to those who take him in, but there are precious scents that reside only in certain favored human beings and must, like blood, be sucked out.
At first one specific human scent haunts him, and he kills the young girl who has the misfortune to possess it; only thus can he rob ''a living creature of its aromatic soul.'' This murder precipitates his odorous, malevolent lusts, but before he instigates further deaths he becomes apprenticed to a Parisian perfumer and concocts scents never before known on this earth. Then he vanishes into the wilderness for seven years, in a region of no smell where his own personal power seems greatly to increase, and on his return to civilization he resumes his fatal career. Several young girls are murdered by him, stripped of their scents and left as odorless corpses. He is an olfactory vampire -Noseferatu. Eventually he is captured and tried, but once more his inhuman powers assist him. The novel begins as a historical document and ends as a metaphysical mystery.
That this is in every sense an olfactory novel gives a striking sensory immediacy to the fiction itself. ''Perfume'' is a historical novel but one in which the sheer physicality of its theme lends it an honorary present tense. And if Grenouille is the hero of the novel, his obsessions are also its informing presence. Just as he has difficulty with words ''designating non-smelling objects, with abstract ideas and the like,'' so the novel itself creates an elemental world in which such abstract matters are only of token significance. The nose is defined here by a priest as ''the primitive organ of smell, the basest of the senses,'' with its powers springing from ''the darkest days of paganism''; but it flourishes in Grenouille, even in an age of ''enlightenment,'' and the unspoken message of ''Perfume'' is that it flourishes still. The point about genuine historical fiction is that it is primarily concerned with the contemporary world. This is not a historical romance, full of ''Prithees!'' and strange objects known as poniards, but a meditation on the nature of death, desire and decay.
The idea behind the book is actually a simple one, Grenouille being a conflation of Dracula, Charles Maturin's Melmoth the Wanderer - that damned soul of early 19th-century fiction - and the assorted inhabitants of Gothic literature. Mr. Suskind's fastidious but sonorous prose (and John E. Woods's translation from the German is a marvelous piece of work) bears a striking resemblance to that of Oscar Wilde in his more sentimental moments, and ''Perfume,'' with its languorous catalogue of scents and its interest in the esthetics of horror, is strangely reminiscent of ''The Picture of Dorian Gray.''
Of course, certain writers are drawn to the past precisely in order to explore such interests; history becomes, as it were, an echo chamber of their own desires and obsessions. But this cannot be conveyed by some easy trick of style: the generally debased standard of historical fiction springs from the fact that most novelists think it sufficient to create approximately the right ''atmosphere.'' But the important things are the details. Without details nothing can live, and one of the pleasures of reading ''Perfume'' is the unmistakable sense that Mr. Suskind has deftly employed the fruits of what must have been long and arduous research into the more arcane aspects of 18th-century French life. THIS is Patrick Suskind's first novel - he is also a playwright - and the fact that he has turned at once to historical fiction suggests the current revival of that genre. The point is that it represents a way of abandoning the constrictions of conventional naturalism without falling into the familiar trap of a self-conscious ''experimentalism'' or ''modernism.'' It accommodates a realism that has nothing whatever to do with ordinary social or psychological observation, but that retains the strength of a fable. As a novel of character or incident, ''Perfume'' is at best tentative, therefore; but as a disquisition on sensibility and as an instrument of historical analysis, it is both well conceived and carefully sustained. Just as Grenouille can manufacture a perfume that infallibly conjures up the same response in anyone who senses it, so Mr. Suskind creates words that provide a satisfying illusion of another time. Grenouille the perfumer becomes a kind of novelist, creating phantom objects in the air, but Mr. Suskind himself is a perfumer of language. This is a remarkable debut. The Girl Behind the Wall The scents of the garden descended upon him, their contours as precise and clear as the colored bands of a rainbow. And that one, that precious one, that one that mattered above all else, was among them. Grenouille turned hot with rapture and cold with fear. Blood rushed to his head as if he were a little boy caught red-handed, and then it retreated to his solar plexus, and then rushed up again and retreated again, and he could do nothing to stop it. . . . For an eternity it seemed to him, time was doubled or had disappeared completely, for he no longer knew whether now was now and here was here . . . - that is, the rue des Marais in Paris, September 1753. The scent floating out of the garden was the scent of the redheaded girl he had murdered that night. To have found that scent in this world once again brought tears of bliss to his eyes - and to know that it could not possibly be true frightened him to death. . . .
Collecting himself and gaining control of his senses, he began to inhale the fatal scent in short, less dangerous breaths. . . . To be sure, it also came from a redheaded girl, there was no doubt of that. In his olfactory imagination, Grenouille saw this girl as if in a picture. . . .
He wanted truly to possess the scent of this girl behind the wall; to peel it from her like skin and to make her scent his own. - From ''Perfume.''
Grenouille is eventually identified as the murderer on the basis of witnesses' statements. Upon his day of execution, thousands wait tensely for the spectacle. However, when Grenouille appears, he is surprisingly confronted with the love of all present and is revered, rather than hated, in contrast to the previous day in which the people wanted to see him dead. The whole town becomes one large orgy, due to the perfume made from the women's smells, which surrounds him like a divine aura.
Grenouille is pardoned for his crimes, and Richis even wants to adopt him. But the experience of the power has dissatisfied Grenouille, because it is not him that is loved, but the perfume which he created. He decides to return to Paris upon finding that the satisfaction that he initially felt has transformed itself into hatred and disgust. In Paris, Grenouille approaches a group of low-life people (thieves, murderers, whores, etc) that accepts him. He deliberately douses himself with the perfume he created, while among the group. The effect is so overpowering that they want to hold him as an angel and own a piece of him, at which point they tear him to pieces in a frenzy and eat his remains. They are all proud of eating him, and feel they killed and ate him out of love.
Willy's Review :Labels: good novel
Labels: MotoGP
Originally a novel by Yamazaki Toyoko, and later a 1974 movie. The book depicts the conflicts within the Manpyo family, which is famous in Kansai's financial circles, amidst the tumultuous reorganisation of the financial industry of the late 1960s. Unlike the book, the eldest son, Teppei, and not the father, Daisuke, will be the central character of the drama.
This drama is set in the late 1960s decade of Japan. The main rivalry depicted in the story is between Manpyo Daisuke (Kitaooji Kinya), a powerful banker, and his eldest son, Manpyo Teppei (Kimura Takuya), the executive managing director of a steel firm. For some reasons, Daisuke seem to dislike his own son and as Teppei seems to find out the reason for Daisuke's hatred, his whole life is turned upside down with fatal consequences.
Tadinya gw pikir Kimura Takuya adalah Won Bin,sekilas emang mirip apalagi kalo lg ketawa.
Asli ceritanya bagus banget....sayang endingnya tragis banget..gw ma puji ampe nangis sesenggukan....padahal bukan cerita romance,..orang dr awal teppei-san jg uda married n punya anak...all bout politics and business....Great story & best drama ever. Bener2 deh...
Labels: dorama
Name::WILNIEZ
From::DEPOK & TEGAL, Indonesia
Hubungi kami di:
http://wilniez.blogspot.com
email:
wilniez@yahoo.com
View my complete profile
