Showing 121 - 130 of 269 Performing Arts annotations
Living in Bombay, India, Sera (Souad Faress) and Sam (Khodas Wadia), a beautiful Parsee couple who adore dancing, have a son (Firdaus Kanga) who will never grow and never walk because he has osteogenesis imperfecta (brittle bone disease). They name him Brit, for his bones. As narrator, Brit says that Sera suffers from the "Parsee disease of anglophilia." But she accepts Brit’s disability.
His father, however, does not; and he continuously appeals to magic, folklore, and religious healers, hoping to find a cure. He professes love for his son, but is never able to forge a confident bond. Brit does not fail to criticize. Sam’s quest leads to a woman scholar who nurtures the boy’s intelligence and encourages him to write a diary and short stories.
Brit’s older sister is his staunchest ally and best friend, but she eventually must leave for a marriage in America. Sam escorts his daughter to America, where he commits suicide on Fifth Avenue. Brit and his mother come to rely heavily on a widow friend and her deaf daughter, "promised" to Brit in childhood.
But the girl is soon spirited away on a wave of romanticism into a life of prostitution. They take a boarder, Cyrus, a gifted and handsome law student who offers Brit a new world of night life, action, dancing, and physical affection; his love leads Brit to like and accept his own body. When his mother dies, Brit becomes a writer and finds a new life and a new lover.
Idealistic, nervous, and rigid, Andrew Manson (Robert Donat) takes his first medical job as an assistant to a doctor in a Welsh mining community. The greedy wife of his invalid employer obliges Manson to hand over most of his earnings. But he finds a local kindred spirit in the outspoken Dr. Denny (Ralph Richardson). In a drunken prank, they blow up the town sewer forcing the unwilling government to repair a notorious source of typhoid.
Manson marries a beautiful school teacher (Rosalind Russell) who leaves her beloved classroom to follow him to an even larger mining town. There he is employed by a group practice run on a capitation basis by the miners. In their evenings, the Mansons investigate the problem of chronic cough in miners, linking it to tuberculosis and coal dust--a discovery that they publish. But suspicious miners destroy their laboratory and force them to London and poverty.
A chance encounter with a wealthy hysteric and an old mate (Rex Harrison) raises Manson’s social standing. He opens a Harley Street practice and makes a fortune. His wife regrets the loss of his ideals and the death of his research. She begs him to remember how happy they were in poverty when each day was a noble challenge to take "the citadel" of life. Denny returns to entice Manson into a new group practice funded by community insurance, but Manson flatly refuses. Denny’s accidental death and a blunder by an elite, unethical Harley Street surgeon bring Andrew back to his idealistic senses.
The film closes with his eloquent self defense against charges of irregular practice for having intervened (successfully) in the case of a little girl with tuberculosis. Manson assists as the child is treated gratis with the controversial new pneumothorax operation administered by an American who does not hold a medical degree. Whether or not Manson keeps his license, the audience is confident that his sense of purpose has been restored and that his wife loves him more than ever. He will return both to the comfortably compatible pursuits of research and serving the sick poor.
As a medical student, Martin Arrowsmith (Ronald Colman) approaches the revered Professor Gottlieb (A. E. Anson) wishing to accelerate his studies into bacteriology research. Gottlieb insists that he complete his clinical training first. But Arrowsmith meets the cheeky nurse Leora (Helen Hayes) and throws over his plans for science in order to earn a marriage-sustaining living as a general practitioner in her native South Dakota.
Assuaging his undying passion for research (in the family kitchen), he takes on the problem of an epidemic of black leg disease of cattle and earns the animus of a veterinarian and the admiration of the Swedish farmers by single-handedly disproving the efficacy of a government serum, developing his own serum, and conducting a controlled trial to prove its worth. His frustrated and unemployed wife--now displaced from her own kitchen--continues to support him, answering always "Yes, Martin. No, Martin. Whatever you say, Martin."
The couple move to New York City where Arrowsmith intends to devote himself full time to science at the side of his old hero Gottlieb in the McGurk Institute (a thinly disguised Rockefeller Institute). In his new laboratory, Arrowsmith utters a prayer for clear vision and humility--a prayer that seems to go unanswered.
Late one snowy night after two years of fruitless work, he discovers that "something" (in the novel, it is bacteriophage) has killed the bacteria he has been incubating. "Is it important, Martin?" asks Leora. He is brutal in his zealous response, his eyes gleaming with the promise of promotion, fame, and fortune. But after days of exhausting labour, he learns that he has been scooped by Felix D’Herelle a (real) researcher at the Pasteur Institute.
Arrowsmith quickly finds a new passion and travels to the Caribbean to conduct research into the effect of a serum on bubonic plague. Gottlieb makes him promise to act like a scientist (not a G.P. or a quack) and to withhold the remedy from half his patients. He tries to convince the colonial authorities of the importance of controlled testing, but is rebuffed with accusations of turning humans into guinea pigs. A black medical graduate of Howard University invites him to a different island where the epidemic is so thick that the people willingly cooperate with the controlled trial.
Leora, who had refused to remain in New York, is now left behind. The film implies clumsily that the now solitary Arrowsmith--ecstatic to be back in the research trenches--has a romantic encounter with Joyce, a beautiful stranded tourist (Myrna Loy). Meanwhile, Leora contracts plague from a cigarette, which has absorbed plague germs from Martin’s sloppy lab technique, and which she smokes because of Martin’s inattention and abandonment. She dies miserably and alone.
Crazed with remorse, Arrowsmith abandons his scientific principles and allows the entire population to be treated with the serum after all. The epidemic is arrested. But Martin knows that his success does not justify his scientific sin. Still grieving for Leora, he returns to New York to much fanfare, but is unable to find absolution from Gottlieb who has just had a stroke. He runs out on his lover, his institute, and a press conference to join a friend who is establishing a Walden-like institute dedicated to pure research in Vermont.
During the Nazi occupation of Paris, the deranged doctor Petiot (Michel Serrault) abuses the trust implied by his profession to "help" frightened Jewish citizens. By day, he conducts his clinic and supports his family with a kindly obsession. By night, he leads his victims from a metro-station rendezvous to his apartment, their worldly possessions dragged in a trailer behind his bicycle. He then administers a "vaccine" and locks the now poisoned refugee in a room to face an agonizing death alone.
The doctor takes the possessions of his victims, and dismembers and incinerates their corpses in a makeshift crematorium in his basement. In March 1944, the nauseating black smoke betrays his activities; however, the now notorious doctor vanishes, abandoning his wife and son. Following the war, he is living incognito as a soldier pursuing war criminals and collaborators. But he is identified by his fascination with the Petiot case and his handwriting. In the final scene, dozens of people stand at a long table silently sorting through clothing, jewelry, books, seeking belongings of their loved ones who became the doctor's victims.
A dark-eyed, ten-year-old Indian pauses for a moment in playing with her friend to explain that she is soon to be married, but would rather stay at home and in school. Her friend announces that she will never get married; she wants to become a policeman. Another smiling child in Yemen wants to be a doctor to help people. She looks forward to wearing the hijab. Little girls with great family burdens, and others who have no families, all expect to become mothers themselves. They talk about their daily routines.
A confident child in Peru cooks, cleans, does laundry, and then washes, dresses and feeds her younger siblings, before putting on her crisp uniform and going off to school. Two shy girls from Africa describe the painful ritual of circumcision--and a "cutting" ceremony is observed from a modest distance. One talks about her separation from her mother and life as a slave.
Interspersed are scenes of the children playing. Commentary emphasizes how soon these little girls must become women and how much of the world's work and how little of its wealth belong to them.
A three-year old girl with globular cheeks patiently allows her calligrapher father to brush letters on her face and lips, as he recounts the story of creation: "And when God saw it was good, he signed it." Gently, he turns her round to sign at the base of her neck. Several years pass with the ritual repeated, accompanied by a cheery song that had been popular when her parents were first in love.
An aunt gives her a diary (or "pillow book"), and so begins N's obsession with writing. The tender scenes are marred by the brusque visits of her father's publisher (Yoshi Oida), with whom he has a sexual relationship. Through the child's eyes, the father is forced to prostitute his body for his written work.
Grown into a beautiful woman, Nagiko (Vivian Wu) escapes an unhappy marriage with the misogynist office boy from the publishing house by fleeing to Hong Kong. She works as a model and seeks solace (and her absent parent) in a perpetual quest for calligraphers who will become her lovers and write on her body.
She tries unsuccessfully to print her own work with the publisher as a kind of revenge for the power he held over her father. Her lover, the polyglot translator, Jerome (Ewan McGregor), urges her to write on his body for "submission" to the reluctant publisher. Jerome is already yet another of the publisher's lovers. Nagiko agrees and the plan works, but she is overcome with jealousy and spurns Jerome.
Counseled by a disingenuous friend, the unhappy Jerome takes a supposedly temporary poison in order to win her back; her affection is restored, but the poison kills him. The publisher exhumes Jerome's body, for a gruesome harvest of his skin and her words. Disconsolate and enraged, Nagiko submits book after book of her work to the publisher, each chapter written on a different male body, some perfect, some dilapidated, all her lovers.
Finally she sends "Book 13, the Executioner" on the sumo-wrestler-like body of a man who slashes the publisher's throat. Nagiko returns to Japan where she gives birth to Jerome's child and the cheerful song of her childhood returns as she writes on the infant's face.
In the year 2000, Nafas (Niloufar Pazira) a 29-year old Afghan-born Canadian journalist travels back to her homeland in search of her sister. The sister was maimed by the long war, and her life under oppressive Taliban rule is no longer worth living; she has resolved to commit suicide on the last solar eclipse of the century.
Dependent for her travels on the uncertain help of men, Nafas encounters many other charismatic women hiding under the seclusion of the burqas. The inquiries she makes to find her sister raise the veil just enough to reveal the torment of Afghan women, deprived of rights, education, and basic health care. A doctor must question his women patients, who are hidden from him by a canvas wall, through a child intermediary; he does not touch them. The ending is inconclusive.
Summary:Sympathy for Mr. Vengeance tells the story of Ryu (Ha-kyun Shin), a young Korean man who cannot hear or speak, whose sister Han Bo-bae is dangerously ill with kidney disease. Because Ryu and Bo-bae are poor and there is no social system of health coverage in Korea, Bo-bae is not able to receive the transplant she needs to survive. Ryu wants to give his sister one of his own kidneys but he has the wrong blood type. When Ryu is laid off and given a lump sum in severance pay, he seeks out black-market organ transplant. He agrees to give one of his kidneys and ten million won (roughly US $10,000) in exchange for a kidney for his sister. Ryu awakens from anesthesia to find that his kidney has been removed and his money stolen by the black marketeers.
This film rendition of Randy Shilts's documentary book by the same name tells the scientific, political, and human story of the first five years of AIDS in the U.S.--roughly 1980-85. Mainly it is a story of dedicated medical researchers groping to understand the horrifying and mysterious new disease and simultaneously battling the public fear and indifference that prevented, during those Reagan years, both public funding of their research and acceptance of their findings.
The central figure is Dr. Don Francis (Matthew Modine), veteran of the World Health Organization's smallpox eradication program, and the horrifying outbreak of hemorrhagic fever along the Ebola River in central Africa in 1976. Working at the Center for Disease Control in Atlanta with no money and no space, Francis pursues his theory that AIDS is caused by a sexually-transmitted virus on the model of feline leukemia. His individual antagonist is Dr. Robert Gallo (Alan Alda), the discoverer of HTLV (the human T-cell leukemia virus), who cuts off assistance when he hears that Francis has shared some experimental materials with French researchers. (Gallo sees the French team mainly as his rivals for a Nobel prize.) Gallo finally claims a French retrovirus discovery as his own and thereby acquires a coveted patent.
Besides lab work and big scientific egos, the film shows us lots of grass-roots, shoe-leather epidemiology, especially in San Francisco; the laborious questioning of AIDS patients about their sexual histories, in search of the chain of infection and its beginning, "patient zero." The film's plot ends with Reagan's 1984 re-election and Francis's departure for San Francisco to set up as an independent researcher. Preceding the credits are a number of updates that take AIDS and the story's heroes and villains from 1985 to 1993, all this appearing over stills of famous AIDS victims and crusaders.
It is part of the interest of this film that it is not easily summarized. The present tense of the film is the final year of World War II, the setting a bomb-damaged villa in the hills north of Florence, the action four characters seeking shelter there and attempting to undo some of the damage of the war.
The title character (Ralph Fiennes), whose identity is a mystery at the beginning of the film, was badly burned all over his body when his plane crashed in the desert. He lies in a bed, morphine deadening his pain and loosening his memory, reminiscing about a love affair with Katherine Clifton (Kristin Scott Thomas) and his career in military intelligence as a desert expert
The young Canadian nurse Hana (Juliette Binoche), emotionally shut down as the result of her work in the war and the death of her lover, has refused to withdraw with her Red Cross unit and lovingly tends to the badly burned patient and develops an intimate relation with Kip (Naveen Andrews), a Sikh munitions expert who by day disarms unexploded mines and bombs. An American nicknamed Caravaggio (Willem Dafoe), a criminal who has been recruited by military intelligence, shows up and probes with increasing intensity into the mystery of the history and identity of the "English" patient, who he believes in some way responsible for the amputation of his thumbs by the Germans.
Much of the film consists of flashbacks through the point of view of the English patient, who it turns out is a Hungarian count, Laszlo Almasy, an explorer and geographer of the north African desert, who in his deep devotion to Katherine Clifton did in fact commit a treasonous act that indirectly led to Caravaggio's amputations. The film ends with Caravaggio finally forgiving the badly wounded Almasy, Hana granting Almasy's request of a peaceful death, and she herself leaving for Florence, where we expect she will meet Kip, who has just been reassigned there.