Showing 131 - 140 of 312 annotations tagged with the keyword "Mother-Daughter Relationship"
Dash provides a visually lush and poetic portrayal of a little-known Gullah subculture existing on a barrier island off the coast of South Carolina. Because the small colony is isolated from the mainland and the dominant culture, the extended family exhibits unfamiliar behaviors and patterns of speech associated with their African heritage.
The story occurs on the day prior to the Peazant family's final departure from the island's familiar contours and rich customs. The wise old matriarch and conjure woman keeps both the oral history and a tantalizing box of relics. When her family leaves, not surprisingly, she intends to stay. Some members have already assumed characteristics of the mainland culture, such as Christianity and mainland manners, and are eager to leave; others are more reluctant and even frightened about forsaking the world they know.
Without any careful delineation of specific problems, audiences recognize inherent tensions between an inherited tribalism, and alien belief systems. If the island and the relic box's strange contents reference safety, stories about lynching and rape on the mainland cast a dark shadow for many family members. A breathtakingly beautiful picnic scene at the beach is central because it celebrates and symbolizes the paradisal innocence of the island people.
As this highly original and provocative film once again demonstrates, John Sayles is not a traditional storyteller. Audiences are caught in the detective story focusing at one level on murders and abuses committed more than 20 years ago; but the filmmaker guides their attention to the survivors, the current and very ordinary folks inhabiting the small border town where secrets are closely kept.
Imagine a blank canvas on which seemingly unrelated splotches of paint appear; then imagine those splotches as members of various ethnic groups inhabiting Frontera on the U.S. side of the Rio Grande. First, we have custodial white men who hang around the local coffee shop or fish on previously-owned Indian land transformed recently, and with some controversy, into a lake by the construction of a dam. Then we have Mercedes Cruz (Miriam Colon), a successful business woman and council member who curiously shows little compassion for "wetbacks" and those relapsing into the Spanish language. Her daughter, Pilar (Elizabeth Peña), of whom she is a constant critic, is a school teacher and single mother of two teenagers, a figure whose importance will increase as the composition develops.
Also, there is Otis Payne (Ron Canada), the African-American owner of the town’s black bar, a refuge for that minority group; and there is his estranged son, a rigid and unyielding colonel at the nearby base. Finally and less developed, are the Indians whose land has been claimed by the town’s ruling forces.
As fragments from the past and present provide dimension and meaning, increasingly the disparate colors are transformed into a representational form with clear connecting lines. Shapes and textures gradually become familiar and palpable. Within the context of good and evil, narrative lines blur and thicken. With tantalizing flashbacks, past and present fuse, allowing puzzle pieces to fit together; then engaged audience members realize that the narrative threads have twisted to expose unimagined patterns of sacrifice and love.
This film, like Nair’s earlier films (Salaam Bombay!, Mississippi Masala) presents serious social issues for viewers to consider, but the story this time, is set in a happier context. As the title reveals, a wedding is central. Monsoon is added to account for two kinds of turbulence: the weather on the day of the wedding and discomforting family factors such as pedophilia, secret trysts, and class distinctions. For the Punjabi Verma family, it is Father of the Bride with the universal tension, stress, and chaos associated with such happy events, but also with distressing twists that are sorted out or washed away symbolically by the monsoon’s arrival.
Sarah (Whoopi Goldberg) is an African-American woman who runs a bookstore, the "African Queen," in San Francisco. She has an adolescent daughter, Zora (Nia Long), conceived with donor sperm after the death of Sarah's husband, Charlie. Zora believes she is Charlie's daughter until she discovers a discrepancy while learning about blood types in biology class. Sarah tells Zora about her conception and Zora, determined to find out the identity of her "real father," breaks into the computer records of the California Cryobank.
She discovers the name of the sperm donor, Halbert Jackson, and tracks him down, discovering that he is a white truck salesman (Ted Danson). She and Sarah are both horrified (Sarah had requested the sperm of a black man), as is Hal, but after some comic conflict, Sarah and Hal fall in love and Zora begins to think of Hal as her father. They then learn that there was a mix up in the records and Hal is NOT after all Zora's genetic father, but by this point they have nonetheless become a family.
Yesterday (Leleti Khumalo) is a young woman living in a tiny rural town in Kwazulu province in South Africa with her six-year-old daughter, Beauty (Lihle Mvelase). Yesterday becomes ill and, after several failed attempts to be seen by the lone doctor at a clinic several hours' walk away, is diagnosed as HIV positive. At the doctor's urging, she travels to Johannesburg to find her husband (Kenneth Kambule), who works on the mines there, to tell him of her diagnosis and that he needs to be tested. He beats her viciously and sends her away.
Months later, he returns to the village, dying of AIDS. He has lost his job. She takes care of him. Rumors spread in the village that Yesterday's husband has "the virus." The people begin to avoid them both, and the (true) story is told of a young woman in a nearby village who, after moving to the city and then returning home with AIDS, was stoned to death by her people. There is no room for her husband at the hospital, so Yesterday builds a scrap metal hut outside the village and cares for him there until he dies.
At one point the doctor observes that Yesterday's body is resisting the disease well; she replies that it is not her body, but that "I have made up my mind: until my child goes to school I will not die."
When the new school year begins, Yesterday gives a delighted Beauty her school uniform, and the schoolteacher promises Yesterday that she will take care of Beauty. Yesterday watches as Beauty begins her first day at school and then walks home alone.
Like Jane Eyre, a novel to which it is often compared, Olive is a female bildungsroman: a young girl's coming of age story. In Craik's novel, however, the heroine is much more physically distinctive than the "plain" Jane Eyre. Olive Rothesay is born prematurely to a young, lovely mother who continues to entertain guests through her pregnancy in an effort to entertain herself during her husband's long absence. When the doctor pronounces the baby "deformed," the dismayed mother hides the truth from her husband until his return a few years later.
Combined with Colonel Rothesay's own secrets, Mrs. Rothesay's deception produces a permanent rift in the marriage. Upon her father's sudden death, Olive is both a moral and financial support to her frail mother, becoming a successful painter under the tutelage of a brilliant but misogynistic artist whose marriage proposal she rejects. When Mrs. Rothesay loses her eyesight, she and Olive develop a substantial bond that repairs the mother's early rejection of her disabled daughter.
After Mrs. Rothesay dies, Olive falls in love with Harold Gwynne, the widower of her best friend Sara. In a sensational subplot, Colonel Rothesay's illegitimate, mixed-race, emotionally troubled daughter briefly threatens Olive's happiness, but Olive finally marries Gwynne, helps him with his crisis of faith, and becomes the adoptive mother of his and Sara's child.
"My mother danced all night and Roberta’s was sick. That’s why we were taken to St. Bonny’s." Thus begins Twyla’s narrative of her long-term, intermittent relationship with Roberta, another eight-year-old who shares her failing grades and "not real orphan" status at St. Bonaventure’s, the shelter where they live for a few months.
The two girls become fast friends despite the discomfort occasioned by the situation, their problematic mothers (Roberta’s is hyper-religious and unfriendly; Twyla’s is pretty but childlike, an embarrassment to Twyla because of her casual clothing and behavior), and their racial differences (one is white, one African-American). They also share a defining moment, in which they watch bigger girls assault Maggie, a disabled woman who works in the institution’s kitchen.
The girls meet by accident four more times; as young adults in a Howard Johnson’s, where Twyla works and Roberta stops in with two young men on the way to the coast for "an appointment with Hendrix"; in a grocery store in Newburgh, the blue-collar town on the Hudson river where Twyla lives (Roberta lives in white-collar Annandale); at a picket line against a busing plan (Roberta is protesting the busing; Twyla ends up picketing for it); and finally in a diner on Christmas Eve. Each time they meet, they piece together what has happened in their lives, but also return to the defining moment of Maggie, arguing about what really happened and what role they played in the abuse.
Lenny's development from childhood to adolescence concurs with India's independence from Britain and the partitioning of India into India and Pakistan. The interwoven plots give each other substantial meaning. Partly because Lenny's family are Parsees, a religious and ethnic minority that remained relatively neutral in post-Partition religious conflicts, she has access to people of all ethnicities and religions, both within Lahore and in other locales. More significantly, she has access to a wide variety of viewpoints both pre-and post-Partition through her Ayah, a beautiful woman whose suitors are ethnically and religiously diverse.
Lenny's passionate love of Ayah and the loss of innocence that accompanies their changing relationship through the Partition is an energetic center to the plot. Lenny's relationships with her mother, her powerful godmother, and her sexually invasive cousin are also important to the novel. Lenny's polio forms a significant early narrative thread. Other minor but compelling subplots include Lenny's parents' changing relationship, the murder of a British official, and the child marriage of the much-abused daughter of one of Lenny's family's servants.
Summary:A young woman observes the slow decline of her grandmother into dementia and her grandfather’s reaction to the situation. Issues of denial, anger, autonomy, and intimacy rise to the surface—and expose the formerly private dimensions of their marriage. The illness also stresses her own relationship and invites the idea that someday she and her partner could be projected into a future with the same vulnerability.
Sapphira was a fashionable young woman in Winchester when she married Henry Colbert, a man beneath her station, and moved to a rugged backwoods village, where they have lived for more than 30 years. Twenty of Sapphira's slaves came with them. This caused somewhat of a sensation among the poor, non-slave owning population of the region, where even to this day the Colberts are admired but not well-liked. Henry successfully took over the village grinding mill, while Sapphira assumed the role of local granddame. They had three daughters, all of whom married and moved away. However, Rachel's husband died, and she returned to Back Creek with her two young children.
Sapphira and Rachel are lay nurses who often visit and comfort the sick. Sapphira appears to do this work out of a sense of noblesse oblige, but Rachel feels empathy for the sick and less fortunate. She sets herself above nobody. Rachel is also an abolitionist at heart (as, to some extent, is her father), but Sapphira is firmly convinced that slavery is not only necessary, but also moral. Henry, a rather ineffectual male presence in this story, has responded to Sapphira's haughty regime by gradually withdrawing. In fact, he has largely abandoned the Big House to live at the mill, which he justifies by claiming the lack of a reliable foreman.
Sapphira suffers from severe dropsy. Her swelling is so bad she can no longer walk. She is jealous of a young slave named Nancy, with whom she believes Henry is having an affair. Much of the novel describes Sapphira's attempts to get rid of Nancy, first by selling the girl in Winchester, and later (when Henry refuses to sell) by importing her ne'r-do-well nephew to rape and destroy Nancy. This doesn't work either, primarily because Rachel takes Nancy under her wing and arranges her escape to Canada via the Underground Railroad.