Friday, September 30, 2011

YOU AND I (2011, Saifah Tanthana, A+++++)

What I like very much in this play, or what I think is interesting in this play, includes:

1.The dilemma of the characters. The play makes me ask myself what I would do if I were the heroine (Wanatsanan Sasom). I don't know if I should:

1.1 Tell my best friend about what happened, so that she would know the real behavior of her boyfriend. But I don't want to keep the hero (Anupong Sakulmongkollarp) for myself. I just don't want my best friend to have an unfaithful boyfriend like that.

1.2 Tell my best friend about what happened, so that she would dump him, and I would have him for myself.

1.3 Don't tell my best friend. Don't talk to her boyfriend. Act like a virtuous, extremely nice heroine. But I think the secret will weigh too much on my conscience. I think if I choose to go on this way, I will feel awkward and guilty every time I meet my best friend.

1.4 Don't tell my best friend. Be the secret lover of her boyfriend. But I don't think I can do something like this.

After thinking about these choices, I think if I were the heroine, I will choose No. 1 or No. 2. According to the situation in the play, I don't think I will feel ashamed of myself for the fact that I "unknowingly" have sex with the boyfriend of my best friend. But I will feel bad for myself if I don't tell my best friend the truth about what happens. The truth will surely hurt my best friend at first, but I think if I lie to her, the lie will hurt her much more in the long run.

In conclusion, I like it very much that YOU AND I makes me really contemplate about this issue. Most films and plays don't make me seriously think about the problems of the characters like this.

2.I seriously think about the dilemma of the characters, because the play doesn't give the audience easy answers. And I like this kind of thing very much. At the end of the play, the heroine is left with difficult choices. I can't guess what will happen in her future. I can't guess what she will decide to do in the future. All I know is that whatever she decides to do in the future, someone will get hurt. There's not a choice which will lead to "a happy ending for everyone".

The dilemma of the heroine weighs on my conscience. And I like this kind of thing very much. It is the opposite of such Hollywood films as SOMETHING'S GOTTA GIVE (2003, Nancy Meyers), in which Diane Keaton suddenly dumps Keanu Reeves at the end, and doesn't seem to feel guilty at all, or THE WEDDING PLANNER (2001, Adam Shankman), in which the hero dumps his girlfriend at the end, and he doesn't have to feel guilty for it, because his girlfriend "suddenly" doesn't want to marry him!!! There are many films like this. If YOU AND I was like this kind of films, the best friend would be portrayed as a villainess, so that the audience would feel that she deserved to be cheated by her boyfriend. Or the boyfriend would turn out to be a bad guy at the end, so that the heroine and the audience would be able to decide very easily what the heroine should do.

Fortunately, YOU AND I is not like that kind of films. There's no villain or villainess in this play. YOU AND I gives us really tough choices.

3.Though there's no villain or villainess in this play, the hero is not "a really nice guy" in my point of view, but a flawed human being like us. I think his main flaws are his cheating on his girlfriend and his attempt to open the forbidden box.

I like the moment when the hero tries to open the forbidden box very much, because

3.1 It's the dilemma of the audience. In that situation, the audience knows that opening the forbidden box is not a good thing. It is not the right thing to do. But the audience wishes that the character would do the wrong thing by opening the box, because the audience wants to know what is inside that box. That moment in the play lays the guilt on the audience, and makes the audience partners in crime.

3.2 It is like a symbol of rape in my point of view. The man uses force to enter the forbidden box of a woman. This moment in the play unintentionally reminds me of "the symbol of rape" in the film LOLITA (1997, Adrian Lyne), in which Jeremy Irons put his fingers inside Dominique Swain's mouth so that she would disgorge the thing which annoys him.

3.3 It is the test to measure how good the hero really is. If he is really a good guy, he will not open that box.

However, one thing I like very much about the hero is that he seems to want to tell the truth to his girlfriend. I like this kind of thing. I think it's better to have an affair and tell the truth than to keep it a secret.

4.The heroine is not flawed like the hero, but the play still can make her look like a real human being, partly by the great performance of Wanatsanan, and partly by her peculiar behaviors, especially her categorizing of things according to different emotions, and her collection of songs which "can make her feel good instantly". I like the play's focus on the heroine's habits very much.

5.The tone of the play. I like it very much that the play seems very natural or very real for me. It is not too melodramatic. It is a little bit romantic at times, but not too much.

There are some moments in the play which seem to be a little bit boring. The excitement drops in these moments. The characters seem to talk about something unimportant or do something unimportant. But I like these "undramatic" moments very much, because these moments seem real to me. The play doesn't try to capture "only important moments" in our lives, but it tries to present us what happens in real time between the hero and the heroine in the morning after they first had sex. Because it tries to present what happens in real time, the play should also include "undramatic", "unimportant", or "boring" moments like these, because our real lives are full of these moments. Our real lives are not mostly made up of "dramatic moments" in which some ultimate truths are revealed, something important happens every minute, or everything we speak is worth remembering or analyzing.

I'm not sure if the "undramatic moments" in the play come from the intention of the director or the playwright or not, but I like them very much. These undramatic moments remind me of one of my most favorite quotes of all time from Ray Carney, my favorite film critic. Ray Carney said that Mike Leigh and John Cassavetes "show us how extraordinary the most ordinary life can be. They show us that it’s not the complexity of events that makes for interest but the complexity of a character’s feelings.

The turning points in life usually occur in the simplest settings and situations. Not racing somewhere in a car, but sitting in a room and suddenly realizing something. Not yelling and screaming, but reading a magazine and feeling bored or discouraged. If you feel your character has to have something extraordinary happen to her to make her interesting, ask yourself why ordinary life does not matter enough to hold your interest."

6. Like what Ray Carney said, YOU AND I fascinates me because it presents me "the complexity of a character's feelings", including:

6.1 The hesitation of the heroine. She doesn't know what she should do. She doesn't know how she should handle the situation. At first she tries to force the hero out of her house, because it's what she thinks she "should do", but is it the thing she really "wants to do"? She seems to like him a lot, and she must fight with herself. A part of her wants him to go away, so that her life would not be complicated, but the other part of her wants him to stay, because she feels good to be with him. I like it very much that the main conflict of the play does not seem to be between the hero and the heroine, but seems to be between the heroine and herself.

6.2 The complicated feelings of the characters towards the car key. I like it very much that while the characters are searching for the car key, they are not sure whether they would really like to find it or not, because as long as they don't find it, the hero would have an excuse to stay with the heroine.

7.The props of the play. I think it is very lovely that the stage of the play is adorned by boxes of small things. At first I thought these boxes are unimportant, but later these boxes turn out to be important and are one of the most memorable things of the play.

8.The "taste" of the play. I mean the play is like a cup of coffee which gives me a "bittersweet" feeling, but more sweet than bitter. I guess most sweetness of the play comes from the playwright (Wanatsanan Sasom), not the director.

The sweetness of the play fulfills my romantic longing or my sexual fantasy. I would be very glad to have a one night stand with a handsome guy like that or to have a guy like this fall in love with me. But the play also has its bitter parts when the characters face the dilemma.

In conclusion, I like YOU AND I very much for both its sweetness and its bitterness. Its sweetness fulfills my romantic fantasy. Its bitterness gives me a very difficult dilemma to ponder about.

9. YOU AND I makes me think about many films which deal with romantic relationships in a more or less natural tone. I think I can divide these films into two main groups. The first group is the films which present romantic relationship with a sweet taste or a bittersweet taste, like YOU AND I. The second group is the films which leave a bitter taste in my mouth forever.

9.1 The first group of films may include:

9.1.1 L'ÂGE DES POSSIBLES (1995, Pascale Ferran, France)

9.1.2 BETTER THAN SEX (2000, Jonathan Teplitzky, Australia)

9.1.3 DISTANCE (สิ่ง-ไหน) (2010, Chonlasit Upanigkit, 55 min)

9.1.4 AN ENDLESS ROOM (2011, Emerson Reyes, Philippines, 20 min)
This film doesn't exactly focus on the romantic relationship, but the long natural conversation between the lovers in this film reminds me of YOU AND I.

9.1.5 GOOD MORNING, LUANG PRABANG (2008, Sakchai Deenan + Anusone Sirisackda)
The ending of YOU AND I, in which the heroine wants the hero to spend some time to think carefully before deciding to do anything, reminds me of the ending of GOOD MORNING, LUANG PRABANG.

9.1.6 MY GIRLFRIEND'S BOYFRIEND (1987, Eric Rohmer, France, 103 min)
I wish I could screen this film with YOU AND I. I think this film and the play match perfectly. Reading the review of MY GIRLFRIEND'S BOYFRIEND in TIME OUT FILM GUIDE, I found many sentences which can also be used to describe YOU AND I. In MY GIRLFRIEND'S BOYFRIEND, the heroine "finds herself growing closer to her female friend's boyfriend. Questions of fidelity and betrayal, delusion and deceit lie at the film's heart, which is large indeed, extending ample compassion to the characters. Once again the performances of the young cast are miraculously naturalistic, and equally impressive is the director's mastery of mood." The review of this film also uses the words "gentle eroticism", "fraught with embarrassment and unspoken feelings", "funny, moving " and "an absolute charmer". These words and sentences can certainly be applied to YOU AND I, too.

9.1.7 MY SEX LIFE...OR HOW I GOT INTO AN ARGUMENT (1996, Arnaud Desplechin, 178 min)

9.1.8 WE DON'T CARE FOR DEMOCRACY (2010, John Torres, Philippines)
This film doesn't exactly focus on the romantic relationship, but the natural conversation between the lovers in this film reminds me of YOU AND I.

9.2 The second group of films may include:

9.2.1 BERLIN CHAMISSOPLATZ (1980, Rudolf Thome)

9.2.2 BLUE LOVE (ก่อนรักจะกลายเป็นความผูกพัน) (2011, It Khaena, 16 min)

9.2.3 BLUE VALENTINE (2010, Derek Cianfrance)

9.2.4 THE CRYING WOMAN (1979, Jacques Doillon)

9.2.5 DAMAGE (1992, Louis Malle)

9.2.6 THE LACEMAKER (1977, Claude Goretta)

9.2.7 THE MOTHER AND THE WHORE (1973, Jean Eustache)

9.2.8 THE PHANTOM HEART (1996, Philippe Garrel)

9.2.9 THE SCHOOL OF FLESH (1998, Benoît Jacquot)

9.2.10 THE THINGS OF LIFE (1970, Claude Sautet)

Wanatsanan is 25 years old, and I wonder whether the plays that she will make in the future will correspond to the second group of films or not. I think the more you grow old, the more likely you may feel bitter towards life. Anyway, I wish her plays in the future will turn out to be like the second group of films, because I like these bitter films very much. Hahaha.

10. Wanatsanan is always great in choosing songs for her soundtrack. I also like one idea in YOU AND I very much. It's the collection of songs which "can make me feel good instantly".

If I have to make a CD of this kind of songs, or if I have to make a film about a character who has this kind of CD, my CD will include the following songs:

10.1 BEAUTIFUL MORNING (1995) – Lisa Moorish

10.2 BRIGHTEST STAR – Drizabone

10.3 GOOD LIFE (1988) – Inner City

10.4 HEAVEN GIVE ME WORDS – Propaganda

10.5 KANOJOTO TIP ON DUO – Miki Imai

10.6 I SAW THE LIGHT – Workshy

10.7 IT'S A FINE DAY – Opus III

10.8 IT'S GONNA BE A LOVELY DAY (1992) – The S.O.U.L. S.Y.S.T.E.M.

10.9 LOVESICK – Undercover

10.10 MY BABY'S HEARTBEAT – Eighth Wonder

10.11 ONE NIGHT IN HEAVEN (1989) – Wink

10.12 ROCK 'N ROUGE (1984) – Seiko Matsuda

"Extreme color arousal", the n-word 101, and Target shopping.

The guys in the pic belong to one of my favorite bands of all time,(Third World) and they have absolutely nothing to do with this post.

From the personal experience files: "Extreme color arousal" almost got some poor lady and her kids killed today.

So I was at lunch in Center City, Philadelphia-- sans suit as I was in a training seminar. (That's important) I am on the corner of 12th & Market waiting for the light to change, when I spot a late model station wagon making a right turn towards 12th Street from Market.

Now those of you from Philly know that you can't make a right on 12th from Market because it is a ONE WAY street going South. I noticed two adorable little rugrats perched (one in baby car seat) in the back, while mommy was alone in the front and looking quite clueless as she drove towards certain death.

Anywhoo,I stepped forward (trying to seem as non threatening as possible with my biggest black republican smile) and tapped on her passenger side window. I wanted to alert mommy to the fact that she was about to turn the wrong way on a very busy street.

So what do you think mommy did? You guessed it. She looked up and saw the bald headed black man tapping on her window and shot out the wrong way down 12th Street.(That look.) Fortunately for her, the brakes on her car were in proper working order and the light on 12th street was showing red. Mommy soon attracted a crowd of like minded individuals who acted as traffic cops while she maneuvered her way back to Market Street. (Who said Philadelphians are mean?)

Folks, the moral of my little experience is this: Do not let "extreme color arousal" (thanks for that word, Francis) cloud your judgement and get you killed.

Speaking of color arousal, they are teaching "n-word" classes at Arizona State University.

"Neal Lester has never been called a ni**er. But his Italian wife was once called a "ni**er-lover."

"We were just friends at the time, but people assume when they see a black man and a white woman that there must be some type of intimacy," Lester told theGrio. "There's a lot of history there."

It's those type of experiences and misunderstandings that helped inspire Lester, dean of humanities and former chair of the English Department at Arizona State University, to create a course called "The N-word, an Anatomy Lesson."

Every fall, students can learn about the n-word, in all its complexities and connotations.

Click here to view a Grio slideshow: The top 10 n-word controversies of the decade

Lester designed the single-credit, first-year course for students to explore the n-word in a cultural context. Course materials include popular music tracks, magazines, newspaper clippings, television commercials, political campaigns, children's' play toys and other elements of pop and mainstream culture.

A literary scholar, Lester first made the class available in 2008 and again in 2010. It is open to all students.

While there have been recent attempts to get rid of the n-word, including a symbolic public burial four years ago by the NAACP with then-Detroit Mayor Kwame Kilpatrick, Lester says that words cannot be buried. There have even been efforts to remove the n-word from the dictionary..." [Source]

I just wonder if Mr. Lester's wife took the class.

Speaking of class. Our very classy First Lady was out shopping at Target recently and was trying to be all incognito while doing it.

"Yesterday, AP photographer Charles Dharapak snapped pictures of the first lady shopping (sort of) incognito at a Virginia Target, holding a couple of bags and pushing a cart.

In the images, she's wearing a floral-print button-down over a yellow v-neck. It seems a Nike baseball cap and a pair of sunglasses did the trick when it came to staying anonymous -- CBS News reports that during her 30-40 minutes of shopping, the cashier was the only one to recognize her." [Source]

Oh lawd, I can hear the wingnuts now: "Why not Wal-Mart Mrs. Obama?" Or, "Why not K-Mart? Is it because the Target logo and the O for Obama are similar? Is it because Target's colors are red and your husband is a Socialist? Is there some subtle political message in your little jaunt Mrs. Obama?"

Don't laugh folks, the wingnuts really are upset:
"In a September 29 blog post, Michelle Malkin attacked Michelle Obama for shopping at an Alexandria, VA, Target store, writing that Obama went "about as 'incognito' as Lady Gaga's outfit at her younger sister's graduation." Malkin went on to call the first lady "the glamour queen" and further stated that Obama's Target visit was "to counter the negative diva buzz" and that it "looks like she left the bling at home." From the post:
The East and West Wings of the White House are guilty of more cheesy stage-managing than the Emmy, Oscar, and Tony Awards shows combined.

Last week, the glamour queen wore more than $40,000 worth of diamonds while partying with hubby at several high-priced fundraisers in New York. Her bling made international headlines and photos.
To counter the negative diva buzz as most Americans face hard economic times, Mrs Obama somehow managed to turn up at an Alexandria Va. Target (with her "shopping assistant" in tow)." [Source]
Do they sell breaks in Target? Doesn't matter, because poor Michelle couldn't buy a break even if she wanted to. Michelle, it's all your husband's fault.

Finally, for those of you who still believe in the death penalty, please consider the following:

"The execution of Troy Davis in Georgia last week despite tremendous doubt about his guilt has brought the issue of capital punishment into the national spotlight. As a country that supports use of the death penalty, America is in poor company with “the world’s great dictatorships and autocracies [such as] Iran, Zimbabwe, China, North Korea, Syria, Saudi Arabia, Libya, Egypt, Ethiopia, Cuba, [and] Belarus” according to The Atlantic — while we are supposed to be the land of the free.

Far above and beyond the politically nasty associations with capital punishment is of course the moral concern over accidentally putting innocent people to death. It is likely that the average American believes this is a rare occurrence worth the social value of the death penalty as a deterrent from violent crime. Unfortunately innocent people are often placed on death row. In a study of executions in 34 states between 1973 and 1995, Columbia University professor James Liebman found that: “An astonishing 82 percent of death row inmates did not deserve to receive the death penalty. One in twenty death row inmates is later found not guilty.”

Most death row inmates do not have the resources or time necessary to determine their innocence before it is too late. Hopefully, Troy Davis’ case and others like his will show U.S. citizens how the death penalty destroys innocent lives. Over 1,000 people have been executed since 1976. We may never know how many went to death in error. Here are just a few who we know for sure were likely innocent — but this was discovered too late." [Source]

Happy Animals on Sweetest Friday

happy dolphins

happy monkey with tiger cub

happy sheep

Happy Friday

Sweetest Friday is here! Sweetest fridays!

sent: "My five-year old students, are learning to read. Yesterday one of them pointed at a picture in a zoo book and said, "Look at this! It's a frickin' elephant!" I took a deep breath, then asked..."What did you call it?"

"It's a frickin' elephant! It says so on the picture!" And so it does...
" A f r i c a n Elephant "   Hooked on phonics! Isn't it wonderful?"

Baby Elephants rock. More elephants click HERE


1. He does not have a 'BEER GUT' - He has developed a 'LIQUID GRAIN STORAGE FACILITY.'


3. He does not act like a 'TOTAL ASS' - He develops a case of 'RECTAL-CRANIAL INVERSION.'

 These glorious insults are from an era when cleverness with words was still valued, before a great portion of the English language got boiled down to 4-letter words, not to mention waving middle fingers.

The exchange between Churchill & Lady Astor: She said, "If you were my husband I'd give you poison," and he said, "If you were my wife, I'd drink it."

A member of Parliament to Disraeli: "Sir, you will either die on the gallows or of some unspeakable disease." "That depends, Sir," said Disraeli, "on whether I embrace your policies or your mistress."

"He had delusions of adequacy." - Walter Kerr

"He has all the virtues I dislike and none of the vices I admire." - Winston Churchill

"A modest little person, with much to be modest about." - Winston Churchill

"I have never killed a man, but I have read many obituaries with great pleasure." - Clarence Darrow

"He has never been known to use a word that might send a reader to the dictionary." - William Faulkner (about Ernest Hemingway).

"Poor Faulkner. Does he really think big emotions come from big words?" - Ernest Hemingway (about William Faulkner)

"Thank you for sending me a copy of your book; I'll waste no time reading it." - Moses Hadas

"He can compress the most words into the smallest idea of any man I know." - Abraham Lincoln

"I didn't attend the funeral, but I sent a nice letter saying I approved of it." - Mark Twain

"He has no enemies, but is intensely disliked by his friends." - Oscar Wilde

"I am enclosing two tickets to the first night of my new play; bring a friend.... if you have one." - George Bernard Shaw to Winston Churchill "Cannot possibly attend first night, will attend second... if there is
one." - Winston Churchill, in response.

"I feel so miserable without you; it's almost like having you here." - Stephen Bishop

"He is a self-made man and worships his creator." - John Bright

"He is not only dull himself, he is the cause of dullness in others." - Samuel Johnson

"He has the attention span of a lightning bolt." - Robert Redford

He loves nature in spite of what it did to him." - Forrest Tucker

"He uses statistics as a drunken man uses lamp-posts... for support rather than illumination." - Andrew Lang (1844-1912)

"He has Van Gogh's ear for music." - Billy Wilder

"I've had a perfectly wonderful evening But this wasn't it." - Groucho Marx

day 1 in Paris

Outfit post at last! 
Probably I had to come to Paris to update my outfit posts, but that's not that bad, as Paris has such amazing places to take pictures. You've seen these pants again in a more informal way and here it is again, but with high heels and a silk shirt.

(zara silk shirt and shoes, topshop jeans, rayban sunnies, vintage purse and jewelry)

Photos thanks to Zina

Europa League 2011 2012 Atletic Bilbao Paris Sg

Group Stage, Day 2
29 September 2011
Estadio San Mamés,

Referee: B. Nijhuis

 La patience on la reclame souvent, on l'applique rarement « Il faudra être patient», combien de fois a-t-on entendu la formule à l'arrivée des Qataris à Paris puis a celle de Leonardo et enfin au fur et à mesure que l'effectif parisien s'étoffait? Tout de suite, il y a eu affrontement entre deux écoles, celle prônant de laisser le temps au temps parce qu'une équipe ne se monte pas en quelques jours, l'autre exigeant des résultats immédiats et avec la manière qui plus est.
Cette guéguerre se poursuit sur le terrain où l'impatience est patente. Alors qu'il faudrait poser le jeu en se disant que, à un moment ou à un autre, la qualité individuelle finira par faire la différence, on voit de la précipitation, des joueurs chercher l'exploit pour forcer la décision. Paris est un peu comme le boxeur qui se sait supérieur, qui cherche le K.-O. sur son premier uppercut et qui, n'y parvenant pas, perd petit à petit son avantage. En s'affolant, les coups sont moins précis, font moins mal. Les joueurs parisiens ont tellement entendu qu'ils étaient les grands favoris du Championnat qu'ils s'agacent de ne pas faire la différence rapidement. C'était manifeste contre Brest, un adversaire évidemment à la portée du PSG, qui a su très bien jouer de l'impatience adverse. Comme si le score devait être de 3-0 à la mi-temps! Comme si Paris pouvait compter dix points d'avance après dix journées ! Oui, l'attente est immense, raison de plus pour ne pas bâcler. 
 La patience est la force des grandes équipes. Appliquons-nous. Préparons nos actions. Déséquilibrons notre adversaire. Les Manchester, les Barcelone, les Milan, tous les grands ne paniquent jamais, sûrs de leur force. Ils s'appliquent au travail de sape dès l'entame de match et n'en dérogent pas. Paris n'en est pas là alors qu'il a dans ses rangs les Nenê, les Pastore, les Gameiro ou les Menez capables de profiter de l'ouverture qui finit toujours par se déclarer, plus ou moins tôt. S'ils forcent leur talent individuel, s'ils ne misent que sur cela pour faire basculer le match, c'est l'inverse qui se produit: la qualité technique se délite. La valeur individuelle est sublimée dès lors qu'il y a un jeu collectif de qualité qui suppose de la solidarité, du respect, de la responsabilisation collective. Les Parisiens sont obligés de progresser dans ce domaine. C'est ainsi qu'ils auront une marge de sécurité bien supérieure à celle qu'ils ont actuellement malgré les résultats corrects depuis le début de saison.

Buts : Gabilondo (20e), Susaeta (45e+1 ). Avertissements. Athletic Bilbao : Aurtenetxe (9e), Iraizoz (29e}, Muniain (57e) ; Paris-SG : Mon. Sissoko (44e, 52e), Tiéné (79e), Ceara (83e). Expulsion Paris-SG : M Sissoko (52e).
ATHLETIC BILBAO : Iraizoz (5) - Iraola (cap.) (7), Ekiza (5), Amorebieta (6), Aurtenetxe (7) - Javi Martinez (6), De Marcos (7) - Susaeta (7) (Iturraspe, 72e), Muniain (7) (Toquero, 81e), Gabilondo (7) (Ibaï Gomez, 78e) - F. Llorente (5). Entraîneur : M. Bielsa (ARG).
PARIS-SG : Douchez (5) - Jallet (2), Lugano (3), Armand (5), Tiéné (4) - Bodmer (cap.) (5) (Matuidi, 66e), Moh. Sissoko (2) - Chantôme (4), Pastore (4) (Bahebeck, 58e), Nene (4) (Ceara, 76e) - Erding (4). Entraîneur : A. Kombouaré.

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Full Game

First Half

Second Half

C'est le genre de défaite qui rappelle à l'ordre et souligne qu'on peut rêver de régner sur son pays, mais que l'Europe, même dans sa version C 3, demeure un projet très ambitieux. Parce que le PSG, coleader de la Ligue 1, ne s'est pas contenté de s'incliner sur les terres de l'Athletic Bilbao, l'avant-dernier de la Liga qui n'a toujours pas remporté un match à domicile en Championnat, il n'a jamais donné l'illusion de pouvoir rivaliser. C'est sans doute la première place du groupe qui se jouait au Pays basque, celle qui garantira un tirage plus clément en seizièmes de finale, et Paris s'est infligé un handicap assez important avant la revanche, au Parc des Princes, le 14 décembre. D'ici là, il devra montrer un autre visage contre le Slovan Bratislava et à Salzbourg, que celui de petits garçons timorés entrevu hier, surtout en première période. Jamais encore, cette saison, Paris n'avait connu ça. Ballotté, dépassé, transpercé, complètement à la rue pendant quarante-cinq minutes. Il y a bien eu quelques séquences, en Championnat, au cours desquelles le climat avait été pesant devant le but parisien mais cela ne s'était jamais étendu à aussi longue échelle. De la 2e minute et cette reprise manquée de Llorente dans le temps additionnel, et le second but de Bilbao (45e + 1}, le PSG a été pris à la gorge sans donner le sentiment de pouvoir échapper à l'asphyxie. Son milieu de terrain ne récupérait aucun ballon et sa défense paraissait, à chaque offensive basque, à la limite de la rupture.
 À San Marnes, ce n'était pas un finaliste de la Ligue Europa en puissance qui s'est présenté, mais une formation sans relief. Et ce ne sont pas les frappes tf Erding (28«), Bodmer (43e) ou Tiéné (45*), qui changeront l'impression d'anémie dégagée avant la pause. Jusqu'ki, le collectif parisien avait été sauvé par des individualités talentueuses, capables sur un coup de rein, un crochet ou une frappe d'assurer un résultat. Hier, le collectif était déficient et les techniciens éteints. Surtout, les carences pointées du doigt depuis quelques semaines se sont confirmées : 1. Les latéraux parisiens sont le point faible de cette équipe. Sur le premier but de l'Athletic Bilbao (20e), Jallet est trop court et laisse Gabilondo, à la réception d'un centre de De Marcos, ouvrir le score d'une belle reprise (20e). Sur le second, c'est Tiéné qui a oublié Susaeta dans son dos .
 Quand Matuidi n'est pas là, le milieu de terrain parisien est un open space où s'engouffrent les adversaires. Hier, Muniain s'est régalé et ce n'est pas la présence de Sissoko qui l'a inquiété. Titularisé pour la première fois depuis son arrivée à Paris, l'international malien a vécu un cauchemar. C'est lui qui a perdu le ballon sur l'ouverture du score des Basques. C'est encore lui qui a multiplié les petites fautes à cause de ses interventions en retard. Cela lui a coûté un premier avertissement (44e) puis un second (52e) pour un tacle par derrière. Il est délicat de blâmer l'ancien joueur de la Juventus. Déjà, pour son retour à la compétition avec l'équipe réserve du PSG  à Ivry , il avait laissé apparaître un manque de rythme. Ce n'était pas avec une demi-heure de jeu en plus, à Montpellier {3-0, le 24 septembre), qu'il allait être prêt pour un rendez-vous européen. Antoine Kombouaré aurait d'ailleurs pu lui éviter une expulsion en le sortant à la pause. En infériorité numérique et menés de deux buts, les Parisiens n'ont pas eu les ressources pour redresser une situation compliquée. Ils auraient même pu encaisser un troisième but si Muniain, à la suite d'un magnifique contrôle orienté, n'avait pas écrasé sa frappe (69e) ou si Ibaï Gomez avait cadré sa tête (89e). Paris pourra regretter que la sévérité de l'arbitre n'ait pas été la même à l'encontre du gardien de Bilbao, Irai-zoz, qui aurait, lui aussi, dû être expulsé pour une main volontaire en dehors de sa surface (29e). Cela n'explique pas son énorme passage à vide.