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As with The World Won't Listen, this compilation includes the scrapped single "You Just Haven't Earned It Yet, Baby" (passed over in favour of "Shoplifters of the World Unite"), albeit in a different, shorter mix. However, this shorter version of the song was replaced when Bombs was reissued in 2011. Additionally, the Louder Than Bombs version of "Stretch Out and Wait" is the version from the B-side of "Shakespeare's Sister", which features slightly different lyrics. Also of note is the fact that "Ask" appears on both Louder Than Bombs and The World Won't Listen in a slightly different and longer mix than its single version.

Conrad meanwhile is angry, aggressive and seemingly suicidal himself, frequently fantasizing about his mother and her death and obsessing over one of his female classmates. Jonah, Isabelle and Gene's oldest child, comes down to visit his father and Conrad and also go over his mother's work before it is donated to a museum. Though Jonah appears to his father to be the normal, stable one, he refuses to believe that his mother died by suicide and censors her work, deleting some of her photographs which appear to show her having an affair. At the hospital, when his child is being born, Jonah runs into an old girlfriend, Erin, whose mother is dying of cancer. He allows her to believe that his wife also has cancer. Wanting to return home after visiting his father and brother Jonah stops by Erin's house and the two have sex with Jonah telling Erin that he has never told his wife about his mother or the way she died. After the encounter, rather than return home, he goes back to his father's house and lies to his wife telling her that the family needs him more than he expected.

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Richard's article comes out earlier than expected and Jonah takes the news poorly. As Gene hasn't had the chance to tell Conrad yet he repeatedly tries to contact him, but Conrad ignores him and goes to a party where he is able to hang out with Melanie. As she is drunk he walks her home. Returning to his own home Conrad asks his father if what the paper said about Isabelle is true. He accepts the news graciously, but tells his father that Jonah is handling the situation badly.

No matter what I do

No matter what I do, I roll in filth

Side note: (to roll on a field of feces, literally) is usually used as a part of an idiom, (Even if you roll on a field of feces, this world is better than the otherworld).

Near the end of Louder than Bombs, Norwegian writer-director Joachim Trier's first English-language film, a narrator arrives to inform us that one of the characters will remember that particular moment years later. The intrusion is unexpected, but perhaps less so for people who've seen Trier's 2006 debut, Reprise. That playfully serious movie was about the making of a writer's consciousness, so its literary flourishes were apt.

Readers of the Review know that the Norwegian filmmaker Joachim Trier is one of our favorite young directors. (See Issue 203 for a discussion of his first two features, Reprise and Oslo, August 31st.) His new English-language debut, Louder than Bombs, stars Isabelle Huppert, Gabriel Byrne, and Jesse Eisenberg. Last week we caught up with Trier and Eisenberg for a conversation that ranged from Knut Hamsun to The Karate Kid to David Foster Wallace. We also talked about the making of Louder than Bombs.

There have been better bands than the Smiths, but there has never been a more perfect band, in the sense of having a distinct, deliberate, powerful aesthetic shaped by the tensions of collaboration, combined with the ability to articulate that aesthetic. This box of newly remastered editions of their albums-- four studio records, three compilations of the singles and one-offs that were their greater strength, one live obligation-- would cement their reputation for brilliance and perversity, if it needed cementing.

Released nine months after The Smiths, Hatful of Hollow, a thrown-together collection of radio sessions predating the studio album and tracks from singles, could've been a lesser companion piece to it. Instead, it's a masterpiece, a snapshot of a band moving too quickly to get a bead on. It's a much happier album than The Smiths-- the sequencing turns Hatful's miscellany into something like a narrative about pickups and breakups and relationships, and ending with the combination of "Reel Around the Fountain" and "Please Please Please Let Me Get What I Want" pulls off the neat trick of casting both of them as hopeful songs. The BBC session tracks have an offhanded spark and swing unmatched in the Smiths' catalog; the recent singles Hatful collects have a sense of delight that made the band whole. ("Heaven Knows I'm Miserable Now" may be the most lighthearted song ever written about suffocating despair.) How wonderful were they at that moment? Both "How Soon Is Now?" and "Please Please Please Let Me Get What I Want" had just seen release for the first time as the B-sides to "William, It Was Really Nothing".

Meat Is Murder-- which followed Hatful by a mere three months-- is better recorded than The Smiths, although it's more a bunch of songs that didn't fit on singles than a coherent album. When it's good, it's great: "The Headmaster Ritual", especially, is full of chills-down-the-spine moments from Morrissey (the wordless, yodeling chorus that rhymes with "I want to go home/ I don't want to stay," the second verse's thrilling deviations from the first). "That Joke Isn't Funny Anymore" is a legitimately uncanny slow one that builds up to a bullseye triple-entendre-- "it was dark as I drove the point home"-- then recedes, surges back up, and fades away again. Still, Morrissey's often painfully out of tune on Meat's lesser songs, and a lot of tracks here stretch out at considerable length. That works remarkably well for "Barbarism Begins at Home", seven minutes of tense funk, but flops for the title track's tedious, eye-rollingly earnest animal-rights manifesto.

Louder Than Bombs augments the 12 core tracks with the not-yet-on-album-in-America songs from Hatful of Hollow, along with the material from the "Sheila Take a Bow" single. It's much better sequenced than World, arranged into four six-song suites on the original double LP: hard-headed rockers about being a socially maladjusted freak (plus "Half a Person", a soft-skinned lament about the same thing); warped pop songs about frustrated desire (plus "Panic", a rewrite of T. Rex's "Metal Guru" about the same thing); guitar showcases about being trapped inside one's own thoughts (plus "Ask", a singalong about how hot sex could free you, yes you, from that trap); and a progressively more relaxed series of meditations about how even hot sex may still not make you want to live.

The Smiths broke up a few months after they recorded 1987's Strangeways, Here We Come, so it's tempting to hear it as a premonition of the band's doom, as opposed to the album with "dead" in its title, the album with "murder" in its title, or the album about murdered children. Even more than that, though, it's the Smiths' album about desperately trying not to repeat themselves: Their final single couldn't have had a cleverer title than "Stop Me if You Think You've Heard This One Before". Morrissey's shifting into his now-familiar lyrical mode of deliberate self-parody ("Death at One's Elbow" is effectively a camped-up burlesque of "That Joke Isn't Funny Anymore"); Marr's doing his best to avoid the tingling Rickenbacker picking that was the closest thing he had to a default sound. That's generally a good idea here-- the autoharp he plays on the group's leavetaking, "I Won't Share You", is thrilling-- although the orchestral whomp on a few songs is overdoing it. And the fact that they're devoting so much energy to a song about being annoyed by the record business suggests that they might have been about to pass their sell-by date anyway.

Families can talk about the depiction of violence in Louder than Bombs' flashbacks. Does violence affect you differently when it's realistic rather than stylized? What's the impact of media violence on kids?

Isabelle Huppert plays Reed and makes the screen come alive every time she graces it. The images and stories around her are more profound than the relatively more trivial ones around her family members. Images of Reed in war-torn countries, having faraway adventures, explain justly her passion for a craft that threatens to erode her personal life. The rest of the movie is in stark opposition to these (sometimes literally) explosive scenes.

Everything flows like the Mississippi over a devastated earth, which drinks unsufeited, and augments the liquid with waterfalls of gratitude; which raises a sound of praise to deafen all doubters forever; to burst their shamed eardrums with the roar of proof, louder than bombs or screams or the inside ticking of remorse. 006ab0faaa