Showing 1271 - 1280 of 1299 annotations tagged with the keyword "Family Relationships"
Brad, son and grandson of Boston doctors, resists acknowledging what is happening as his beloved grandfather succumbs to Alzheimer's disease. The family's resignation to the loss simply fuels his denial. His father, a senior physician, has to confront both his own father's dementia and his son's denial.
The rest of the family conspire from various points of view to make Brad accept what is happening to his grandfather and how the family system has to change in response. The old man, they point out, gets mean as well as disoriented. The father urges Brad not to divert his energies from "normal" adolescent occupations to trying to rescue his grandfather from an inevitable fate. Brad's response is to insist that his grandfather might get better, and to resent ever more deeply a family he sees as abandoning the old man.
In a final scene the old man is almost hit in an accident. Brad races to call his father, returning in time for his exhausted and confused grandfather to collapse against him on the sidewalk. Brad's father refuses to resuscitate him, recalling the old man's prohibition against extraordinary measures. In that moment of decision Brad comes to understand his father's predicament, his professional responsibilities, and the complexity of his relationship to the man he has known as grandfather. Letting his grandfather go, he also lets go of an adolescent resistance to his father's point of view, and crosses a threshold into adulthood that is both sobering and liberating.
Addie Bundren is dying in Yoknapatawpha County, Mississippi. As she dwindles, her five children, husband, a scattering of neighbors and the country doctor move about her. Each is given a chapter named for him or her, to provide evolving and unique viewpoints on Addie's life and death.
When Addie has finally breathed her last, the action begins: Anse, Addie's husband, has promised her that she would be buried in Jefferson with her own family. The nuclear family sets out in their old wagon. Floods, injuries, irrational decisions, disagreements, fire, and the full mental collapse of one of the children plague the journey. Addie is eventually buried in Jefferson, but in the process of getting her there, the reader learns the sweet and the sordid about this poverty-stricken and profoundly dysfunctional family.
This 1979 Academy Award winning documentary takes us into the lives of the Wohl family. Featured in this film are Philip ("Philly") Wohl, retarded since birth and now in his early 50's, and the family members who care for him: his sister, Frances, and parents, Max and Pearl. The film-maker is Philip's cousin, Ira Wohl, who provides the narrative structure for the film and was moved to document the struggle of aging parents to care for their aging and homebound son.
Ira Wohl's goal was to convince Philly's family that Philly needed to become a part of the community by moving to a group home before his parents became incapable of caring for him. In fact, during the three years of filming Max dies. And eight months after the filming and Philly's successful move to a group home, Pearl dies.
Sylvain Pons earns a meager living conducting at the ballet and giving private music lessons. He is very fond of fine food and fine art. Over the years, he has satisfied the latter craving by slowly accumulating pieces that now clutter the small apartment he shares with his friend Schmucke. Sylvain doesn’t know it, but the collection is worth a surprising amount of money. He satisfies his taste for fine food by frequently going to dinner at his cousin Marville’s house.
Marville’s wife dislikes having Sylvain at her table, for he is rustic and abrupt. He is finally kicked out completely when he tries to find a suitor for the Marville’s daughter, Cecile, and bungles the job. Shortly afterwards, Sylvain falls ill. His portress, Cibot, enters the rooms to nurse him, recognizes the value of his art collection and schemes to get it. She gets Remonencq, who runs a nearby pawn shop, and Elie Magus, a Jew with an eye for art, to help her.
The attack begins when Cibot convinces Schmucke to sell some of Sylvain’s paintings in order to pay for the doctor bills. The plot thickens as Sylvain’s doctor and an attorney get involved. The attorney goes to Madame de Marville and convinces her to fleece Sylvain or risk a smaller inheritance from Sylvain. Her husband regretfully agrees also.
Meanwhile, Sylvain has become suspicious of Cibot. He struggles out of his sick bed to find Magus studying the collectibles in his bedroom. The other rooms are empty. Sylvain realizes his friend Schmucke has been duped, and he plans a counter-attack. He writes a false will, leaving all his money to Cibot for her service at his final illness. He leaves it where she will see it. He then writes a second, true will that leaves his money to the crown on the condition that they grant Schmucke a lifetime annuity.
Sylvain then dies. Schmucke becomes the new target of the others’ greed. They nearly convince him to sign a paper forfeiting most of his inheritance, but when he realizes that the Marvilles are accusing him of having duped their cousin he falls ill and dies. The money passes on to the Marvilles. The attorney gets an important new job; the doctor gets a sinecure, and Magus gets the pictures. Even Cibot is rewarded; she gets an annuity and marries Remonencq after he kills her husband.
This collection arranges Chekhov's letters into three periods, each introduced by a short biographical essay: 1885-1890, the years during which Chekhov established himself as a writer; 1890-1897, which begins with his trip to Sakhalin Island and includes the years he spent living at Melikhovo; and 1897-1904, the final years during which his health declined, he rose to prominence as a playwright, and he married Olga Knipper.
In her general introduction, Lillian Hellman writes, "Chekhov was a pleasant man, witty and wise and tolerant and kind, with nothing wishywashy in his kindness, nor self-righteous in his tolerance, and his wit was not ill-humored. He would have seen right through you, of course, as he did through everybody, but being seen through doesn't hurt too much if it's done with affection." This image of Chekhov radiates from the letters collected in this volume.
Most of the letters are written to family members and a few close friends and associates, especially Alexei Suvorin, the editor of "New Times," a leading St. Petersburg newspaper; Maxim Gorki, the famous writer; and, later, the actress, Olga Knipper. The topics include family matters and business affairs; comments on his own writing and that of others; and his travels, especially the adventurous trip across Siberia to the penal colonies on Sakhalin Island in 1890.
A young farmer's mother is dying. The farmer, Honore, is concerned about his mother but he is even more concerned about getting his wheat in before the rains come. He is prepared to leave her to die alone, but at the insistence of the doctor agrees to hire Mother Rapet to tend his mother. Mother Rapet is an old washerwoman who supplements her income by watching the dying and preparing them for burial. La Rapet offers to work for Honore for a daily wage. Honore refuses, for he knows how obstinate his mother is and fears she will take a long time to die making La Rapet's services expensive. He insists on a set rate and La Rapet eventually agrees.
After three days, the mother still has not died and La Rapet realizes that she is losing money. Taking matters into her own hands, she tells the dying woman that at the moment before death everyone sees the devil. She then wraps herself in a blanket, puts a pot on her head, and throws a pail across the room making a huge noise. The dying woman thinks she is the devil and struggles to leap out of bed; instead, she collapses on the floor, dead.
The story begins with Dr. Frank Rapallo's son recalling his father's funeral and then progresses with a series of vignettes that show us who Dr. Rapallo was and how he died. Rapallo was an old time doctor who loved his work and whose patients told him "everything."
The boy was only seven when his father had radiation treatment for a cancer of his shoulder; subsequently, he had surgery to try to save the arm, but this left a hole "big enough to fit my hand." The hole never healed. He lost the arm anyway, but continued to perform operations with the assistance of Matthew, his young Japanese partner. The son reflects on his father's experiences in World War II--he was profoundly moved by the destruction in Japan and by the courage of Japanese physicians.
A strong, dedicated doctor, Rapallo was painstakingly honest, both with his patients and himself. In the end, he developed an incurable infection in his incurable wound. With characteristic dignity, Dr. Rapallo set about doing his last things--seeing patients for a few hours, visiting with his old friend Finch--and then in the evening took the contents of the vial he had prepared, and died.
Uncle Jimmie is slowly dying of cancer, "the rat that gnawed away behind his ears." Jimmie believes that cancer is part of nature and must, at some level, be accepted. At first he permits surgery--they removed his ear and cheek and upper lip--but he eventually concludes, "Stop cutting . . . let / me go to earth and snow and silver trees." However, Aunt Flo will not let him go; she reads St. Paul and prays for his recovery.
Next the surgeons remove Uncle Jimmie’s tongue (without his consent?), but his eyes "kept pleading: Stop the cutting, let me go . . . ." So then they removed his eyes. Finally, "a specialist / trimmed away one quarter of his brain ... " Jimmie is left with no memory, lying in bed among his tubes, while Auntie Flo "comes every day / to read to bandages the Word Made Flesh, / and pray, and pay the bills . . . . "
Summary:Virginia (Olivia de Havilland) marries Robert (Mark Stevens), but she soon becomes profoundly disturbed and her caring husband sends her to a psychiatric hospital. Using Freudian techniques combined with physical modalities of electroshock and isolation, her psychiatrist (Leo Genn) leads her to overcome her amnesia and to understand that her illness is the result of unresolved yet misplaced feelings of guilt over a boyfriend and her father. Just before Virginia is happily restored to Robert, the asylum patients are gathered together at a hospital party where they sing of their yearning for home.
A depressed housewife, Eve White (Joanne Woodward), is brought by her husband (David Wayne) to consult a psychiatrist (Lee J. Cobb) because her behavior has been strange. Although she denies it, she has purchased uncharacteristically seductive clothing and has been singing and dancing in bars.
Her surprised doctor is soon confronted with a different but equally inadequate personality, the sexy Eve Black. He recognizes the case as an example of the rare condition, multiple personality disorder, and embarks on a course of psychotherapy in search of the woman's missing memories.
Eve's unhealthy marriage disintegrates when she chooses to remain in therapy rather than move away with her violent husband. Psychotherapy helps her to the repressed memory of an instance of childhood abuse: being forced by her mother to kiss the corpse of a dead relative. A third personality, that of intelligent, insightful Jane, slowly emerges to replace the other two. Jane establishes a new life with a loving man.