Centers on conceptual artist Tina (Reiner), when she introduces her eight-month pregnant art school rival (Hendricks) to her non-traditional surrogate Kiki (Camp). The truth comes outs and the patriarchy fights to hang on.
David Alan Basche
In 1980's Detroit, 17 year-old Richard Wershe, Jr. allegedly ran a sophisticated inner-city drug dealing operation. Now, journalists, police, federal agents and hit men are speaking for the first time about the legend of "White Boy Rick."
Richard Wershe Jr.,
Scott M. Burnstein,
The world's greatest detective Daryl Zero aided by his associate Steve Arlo investigates a complex and mysterious case of blackmail and missing keys for shady tycoon Gregory Stark who is less than forthcoming about what is really happening!
Toots and May's marriage is one of Toots being dependent on his wife. Shortly after Toots and May arrive in London to visit with their grown children Bobby and Paula and their respective children, Toots falls ill and dies. Toots' death brings to the surface the underlying strain that has always existed between May and both of her two children, and the unhappy lives they have all led. Now specifically with Paula, May is disapproving of her relationship with a construction worker named Darren. Not only does May think his occupation makes him beneath Paula, he's also a married man. Darren is in an unsatisfying marriage but doesn't want to leave it if only because of his son. Even after May gets to know and like Darren, she still encourages Paula to break up with him. The issue is that May herself has fallen in love with Darren, the two who begin a sexual relationship. What will ultimately happen between May and Darren also depends on Darren, who is floundering in his own life and doesn't...Written by
It's hard to imagine a director capable of such godawful crap as 'Notting Hill' pulling off something as sensitive and as attractive as this, but well, here's the evidence and it's quite compelling. Several have alluded to TV drama, and yes, this does have a seventies Play for Today feel at times, but is always a cut above, mainly I think owing to some quite superlative acting from Anne Reid and to a fine script which shadow-boxes with cliché without ever getting one on the nose, except maybe right at the end. (I didn't like either the tracking shot of indifferent goodbyes through the hallway, nor the oh-what-a-beautiful-morning final scene: she deserved a more studied finale than that I think, after all that hard work. The slippers business was a bit OTT too, on reflection).
What I mean about avoiding cliché: well, I for one had a sinking expectation that the "mature" man May's daughter tries to set her up with would be cast in 2 dimensions as a repulsive old bore, so as to point the contrast more painfully with the attractive, virile young geezer he is unwittingly competing with. Instead, we get an unexpectedly subtle and sympathetic cameo of a lonely, clumsy, not entirely unlikeable and very human fellow, who nevertheless doesn't have much of a clue about entertaining a woman. It was around that point I started to sit up and pay more attention. Here was a script that let the actors breathe and do something interesting with fairly minor parts. Almost Mike Leigh in that respect (minus the contrived catharses that the latter inexplicably goes in for).
And of course I was, as everyone probably was, dumbfounded by what Anne Reid does with her character and with her body. She's /not/ "the repressed, dutiful housewife discovering herself for the first time", this is far too simplistic for the character we have. Again and again there are allusions to her having been a "bad housewife", not to mention that thing she does with trays, trying to look nurturing and comely and only succeeding in looking awkward. The daughter accuses her of having "sat in front of the TV all day" instead of, well, whatever her motherly duties might be presumed to have been: she has no answer. She never was a model wife and mother, at least not to herself - that's where a lot of the poignancy comes from, the sense of someone having wasted a life trying to fulfil a role she simply wasn't good at, ever.
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