Showing 221 - 230 of 325 annotations tagged with the keyword "Marital Discord"
The story takes place on a steamer bound for Sebastopol, where the narrator meets Ivan Ilych Shamokhin, who tells the story of his helpless love for Ariadne. She was his neighbor, a beautiful but cold young woman, "a nightingale made of metal," who challenged him to fall in love with her. When Shamokhin refused to elope with her, she eloped with Lubkov, a married man with four children.
Months later, Ariadne wrote again to Shamokhin, begging him to join her in Abbazzia. When Shamokhin finally caved in and went to her, he discovered that Ariadne and Lubkov were lovers. A year later, Lubkov had used up all his money and returned to his wife. Shamokhin then became Ariadne's lover. Now his money is almost gone and his life is destroyed, but he feels helpless to leave her.
Dmitri Dmitrich Gurov is lolling around on the beach at Yalta when he spies a lovely young woman with a Pomeranian dog. Gurov is a family man, nearly 40 years old, but his wife and children are home in Moscow, and he regularly dabbles in extramarital affairs. Thus, he sets out to make a conquest of Anna Sergeyevna, whose husband, it turns out, is a "good, honest man, " but a "flunkey" in the provincial town where they live.
They succumb to their passion and become lovers, but after a few weeks, Anna is called home, and Dmitri also returns home. Surprisingly, he cannot forget her. He is tortured by a desire to see her again, eventually arranging a trip to her hometown, where he encounters his lover at the opera. They fall into one another's arms again.
Anna Sergeyevna then begins to visit Moscow every few months so they can spend a few hours in a hotel room together. Their love has grown into tenderness: "They forgave each other for what they were ashamed of in the past, they forgave everything in the present . . . " In the end they decide to make a plan to remain together, realizing that "the most complicated and difficult" part of their road is just beginning.
In a village of Reybuzh lives an elderly tyrant who has two sons, one of whom works in a factory in the city, while his ailing wife lives in the village with her in-laws. The other son, a disabled alcoholic, has remained at home; his wife is "a handsome young woman, smart and buxom." The two wives are essentially no more than servants in their father-in-law's house. One day a traveler stops overnight in the village. Before going to bed, he relates the sad tale of Kuzka, his adopted son. The boy's mother was beaten by her husband. She subsequently poisoned him and, after being convicted of murder, died in prison.
Later that night, one of the young wives (Varvara) returns home from a toss in the hay with the priest's son. The other (Sofya) accosts her, and they discuss the traveler's story as they ruminate on their own terrible lives. Varvara suggests that they could poison her drunken husband and their father-in-law. Sofya is tempted, but frightened of being caught, and of God's punishment. The next morning the traveler settles his account, and he and the young boy leave.
The story begins with a group of young people on a riding party at the Shelestov estate. One of the guests is Nikitin, a young-looking man in his mid-20’s, who teachers literature at the local school, and loves Masha, the 18-year-old younger daughter of their host. Later, over dinner Varya, the older daughter, argues with Nikitin over some points of literature, and another guest scolds him for having never read the German writer, Lessing. But Nikitin glides through the evening on a cloud of love. A day later he returns and proposes to Masha.
In the second part of the story, the wedding occurs. Nikitin and Masha are deliriously happy--"’I am immensely happy with you, my joy,’ he used to say, playing with her fingers or plaiting and unplaiting her hair." But soon one of Nikitin’s friends and fellow teachers develops erysipelas and dies. After that, everything returns to normal, so much so that Nikitin has nothing to write in his diary.
Life seems to be closing in on him. He feels like trying to get away from his wife, "Where am I, my God? I am surrounded by vulgarity and vulgarity. Wearisome, insignificant people, pots of sour cream, jugs of milk, cockroaches, stupid women . . . There is nothing more terrible. I must escape from here, I must escape today . . . "
This is the story of the life, loves, wounds, grit, artistic genius, and death of the well-known Mexican artist Frida Kahlo, played by Salma Hayek. At the age of eighteen Kahlo was in a near-fatal bus accident that left her with lifelong injuries to her pelvis, spine, and uterus. (The film does not include the fact that Kahlo had suffered some physical disability since a case of polio at the age of six.)
The life Kahlo survived to live was artistically enormously productive and successful, but it also had more than the usual share of physical suffering, medical procedures, attempts to self-medicate, and accompanying emotional distress. The film covers these things, as well as what Kahlo called the second disaster in her life, her marriage to the famous Mexican muralist Diego Rivera, played by Alfred Molina.
Max Vigne, the most junior member of a survey group mapping the Himalayas in the 1860s, writes letters to his young wife Clara in England. She has prepared in advance of his journey a series of postdated letters which he keeps in his trunk. When these have been read, Clara sends numbered letter packets which arrive sporadically, out of sequence, if at all, over the months of the expedition. Max struggles to describe and to edit his daily experiences on the mountains which are extraordinary, often terrifying, and disorienting for him.
Separated by time, distance, and experiences, they are slowly and irrevocably estranged. Max discovers that his real scientific passion is alpine botany, and he must decide how to tell Clara that he will not be returning to England after the Survey ends. The exchange of letters ingeniously maps out the complexities between Max's love for his wife and his passion for scientific knowledge, and the wide expanse between them.
Giovanni (Nanni Moretti) is a psychoanalyst. He has a beautiful wife, Paola (Laura Morante), and an adolescent son and daughter, Andrea and Irene. One Sunday morning, Giovanni gets a call from one of his patients, newly diagnosed with cancer and frantic. Instead of spending the day with his family, Giovanni attends to his patient. Andrea goes diving with friends, there is an accident, and he is killed.
The rest of the film examines the family’s bereavement. Giovanni finds his work increasingly difficult, and by the end of the film he has decided that he can no longer be a psychotherapist.
A love letter addressed to Andrea arrives from a girl called Arianna: it turns out Andrea had a secret girlfriend. Both parents become obsessed, in different ways, with contacting Arianna. Eventually she visits them, while hitchhiking with her new boyfriend, and the family drive all night along the Mediterranean coast, taking Arianna and the boy to France. Next morning, on the beach at Nice, in saying goodbye to Arianna, they seem to have made progress in continuing their life as a family without their lost son.
In this novel the narrator travels by train from the present into the past and back again. The narrator boards a train in Soviet Moscow; travels to Leningrad in a compartment with some not too friendly people; stays overnight in a relative's run-down, crowded apartment; and rambles through the streets of Leningrad, stopping to visit Dostoyevsky's last place of residence, which is now a museum.
However, this framing story occupies very little of the book. During the train ride, the narrator re-imagines a much earlier trip in April 1867, as Fyodor Dostoyevsky and his young wife, Anna Grigoryevna, travel by train to Baden-Baden in Germany. They will remain abroad for four years, as Dostoyevsky indulges in his passion (and later obsession) for gambling.
In Baden-Baden he loses all their money; he pawns their belongings and loses; he begs and borrows money from friends and publishers, and loses. Each time he loses, he comes home to their rented apartment and throws himself at Anna's feet. He protests his love, berates himself, and promises to do better in the future; and Anna forgives him.
In this dream-like story, repentance and forgiveness, memory and desire, hope and despair revolve like electrons around Dostoevsky's addiction to gambling. Fyodor and Anna recall earlier events in their lives; for example, Anna remembers herself as a hesitant young secretary arriving for the first time to take dictation from the famous man; and Fyodor, the former convict, Slavophile author of Crime and Punishment, remembers being scornfully dismissed by the smooth and sophisticated Turgenev.
Within the 1867 framework, the story seems to be stuck, unable to move forward, although we know from our late 20th century perspective--as Tsypkin recalls (and invents) the events while on his train trip to Leningrad--they are part of a larger story which moves inexorably forward through time and ends at the Dostoevsky house in Leningrad (St. Petersburg), with the moving scene of Fyodor's last days. And the two stories converge as Tsypkin visits the Dostoevsky museum where those last days took place.
When Gerald is three, his mother, a drug addict, leaves him alone one time too often and he accidentally sets the apartment on fire. His mother is imprisoned for negligence, he goes to the hospital, and thereafter lives with "Aunt Queen," a great-aunt who exercises considerable authority from her wheelchair, and gives him all the love his mother hasn't.
When he is 9, however, his mother returns with a new sister and a man who claims to be the sister's father. They want to take him "home"; Gerald wants to stay with Aunt Queen. The matter is settled unhappily when Aunt Queen dies of a heart attack.
Gerald soon learns to despise his stepfather for his violence and, eventually, for the abuse of his half sister, which she hides out of fear until she's driven to confess it to Gerald in hope of his protection. Their mother remains in denial about that problem as well as her own and her husband's addictions to alcohol and drugs.
Caring for his sister, however, keeps love in Gerald's life. In defending her one last time, the apartment catches fire and his stepfather is killed. As he, his sister, and his mother ride away in the ambulance, a flicker of hope survives in the darkness for another new chapter in family life, this time without violence.
Frank Carveth (Art Hindle) has a wife, Nola (Samantha Eggar) who is mentally ill (the exact nature of her "breakdown" is never made clear, but it is implied that she was abused as a child). Nola is an in-patient at the Somafree Institute of Psychoplasmics run by Dr Hal Raglan (Oliver Reed). Raglan treats patients by engaging in intense role play encounters in which he takes the part either of parent or child to the patient.
The result of his approach is the somatization of emotional problems, his logic apparently being that allowing psychopathology to manifest in the (medically treatable) body liberates the less accessible psyche from illness or harmful emotions. So, for instance, a man with unresolved anger against his father develops sores all over his body during therapy. Their healing enacts his catharsis.
There are problems, however: another patient attributes his terminal cancer to Raglan's therapy, saying "psychoplasmics . . . encouraged my body to revolt against me and it did." Most terrifying of all is Nola's rage. It expresses itself in the form of strange buds that appear on her abdomen. These develop into external wombs, or amniotic sacs, from which she keeps giving birth to deformed and malevolent children.
These children, "the brood," literally enact her rage, escaping from Somafree to attack and kill anyone who is the object of Nola's anger, including both her parents and, eventually, Dr. Raglan himself. When the brood turns on Candy, Frank and Nola's actual daughter, Frank strangles his wife, and her evil offspring die with her.