Both are about two children, twelve years old, a boy and a girl. The boy is very lonely, bullied and ostracized by his peers, with parents mostly or entirely absent. He meets the girl, who is also quite alone, though in a different way, and they quickly become a couple, although with only a hazy idea of what being a couple, in grownup terms, might really mean.
At a certain point in each story, the boy and the girl run away together.
Both movies have a scene where the girl suddenly becomes very violent in defense of the boy. We see the bloody aftermath, but not the violence itself.
In spite of the similarities, the movies are quite different, though both are wonderful. Check out the trailers:
2) I read a couple of interesting things in this Washington Post obituary for Herbert Kretzmer, the lyricist of the stage version of Les Misérables. I thought about writing a blog post about it, but since I recently did blog posts about Christo and Diana Rigg, I thought a blog post called “Herbert Kretzmer (1925-2020)” would make it seem that this is now basically a blog about dead people.
(Particularly since there are also a lot of mystery stories here, which, for some reason, also seem to feature a lot of dead people.)
But I did notice this part specifically, referring to Kretzmer’s work as both a journalist and a lyricist:
“In rhyming and journalism, you work under constant stricture,” he once told the London Daily Telegraph. “You are held loosely behind bars. There is something about being constrained that appeals to me: the freedom inside the cage.”
This is very true, as I talked about here.
I’ve never seen The Crown, but I have to like any list which tells people to see both Orlando and Chimes at Midnight.