Showing 511 - 520 of 520 annotations tagged with the keyword "Memory"
Tomorrow, as soon as it dawns, I will go to visit your grave, Papa, Adriana, in the long abandoned family home, reflects on her life before her father’s death when she was fifteen. She remembers their closeness and similarities, but also their distance and differences. Wedded by their physical resemblance, temperament and interests, they are also separated--by silence and sorrow, desires and disillusionments.
One night the adolescent tries to discuss her father’s torment, but both become angry. It is their last conversation. In the hours that follow, her beloved father takes his life with a single bullet.
This is a film story in which non-professional actors play themselves. It concerns six old women and their bus driver, a middle-aged woman (Michelle Sweeney), who, when their bus breaks down, are stranded in an isolated countryside. In the two days that follow, they find shelter in an abandoned and derelict house, conspire to find food, and learn about each other and themselves through personal disclosure and storytelling.
Before meeting any of the women, the audience hears their child-like chatter and laughter as they emerge from a deep fog cover into the sunshine. Clearly the women are old, but viewers soon regard them as sisters at recess giggling at the novelty of their unexpected adventure, happy to be in good company. When they reach a dilapidated and deserted house, it offers no amenities: no beds, no electricity, no water, no food. Each woman approaches the situation in a different way, but there is a buoyancy and resourcefulness about them in spite of some possible apprehensions concerning rescue and survival.
Any notion that this is a group of interchangeable old women is quickly dispelled. Separate stories unfold against spectacular scenery and humble shelter, as they try to fix the bus, catch fish with pantyhose, hunt for frogs, collect hay for mattresses, paint, laugh, sing, and sigh. In contrast to the current portrait, additional glimpses of the women are provided by superimposed photographic montages or snapshots of each character when she was younger.
One woman (Mary Meigs) is a lesbian, another a nun, another a survivor of stroke. Some are braver than others, and some have moments in their past that, when alluded to, are profoundly moving. One, we believe, is especially vulnerable and ready to die. Another, Cissy (Cissy Meddings), makes us laugh out loud; stooped and stroke-addled, she is full of life and silliness, while enduring the quiet pain of a partially explained isolation from her son and grandchildren, only the facial expression and eyes letting on. Catherine (Catherine Roche) the nun, who will make the long walk for eventual rescue, brings a serenity to the group, while a good-natured and extremely resourceful Mohawk elder (Alice Diabo) demonstrates both strength in the face of adversity and unhappiness in recollections of her marriage.
Their outer bodies belie the inner sense of being. Except for one woman who wears a wig to cover her thinning hair, none of the characters are concerned about their appearances. We may see them as old, but their actions and spirit suggest playfulness, creative energy, and wisdom. Their options may be gone or diminished, but they think of themselves as ongoing persons with much more to say and do.
Except to say that the women survive the ordeal, there are no resounding triumphs. Viewers, possibly the strangers referenced in the film’s title, gather with the good company of old women to learn about life and themselves, especially the vitality and worth of persons frequently isolated from mainstream society. For a brief time, a new society gathers and sifts experience for mutual benefit. We know about the darkness to follow and wonder what their lives will be when they are found, when this moment has passed.
Harriet White is an active, energetic 82 year old resident of the Lutheran Home. We follow her through a winter day: a birthday party for a staff member, the funeral of another resident, a visit from her son, and her daily visit to see her husband who had a severe stroke and lies, uncommunicative, in the hospital ward. Mrs. White's son asks her, as he has before, to come and live with him and his family. He also reveals that he has sold the family farm. She is devastated that he had not discussed it with her, but she puts up a good front, saying it was the only sensible thing to do.
Later, she decides to walk several miles to visit the old farm. She does so, and in the evening a search party from the Lutheran Home find her there. As they drive her back, she realizes that her status has changed: she is no longer a stalwart helper, but has turned into a difficult old woman who is liable to wonder away.
Summary:Tod Friendly awakens from death, rejuvenates, and becomes a surgeon. In New York he becomes John Young. He travels to Lisbon and a privileged existence as Hamilton de Souza. He leaves Lisbon for Salerno, then Rome. As Odilo Unverdorben he travels north to Auschwitz Central where he resumes his surgical career and conducts research. Through this time he has a series of affairs until he joins his wife. Their daughter dies, they marry, then court. Odilo works as a doctor, then attends medical school. He joins a youth organization and lives with Father and Mother. Finally, he enters Mother.
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.
Summary:An old, man--a Chinese immigrant to America--is dying in Chinatown, "a sick dog" who yearns for his homeland and for the wife "who died waiting / in the home of my province . . . . " He can't relate to the young political activists who want him to join in protest against "this gray life"--a life which has never really engaged him. He imagines his ashes being carried by the waterways to join the ashes of his wife; she is the helmsman who will lead him back to comfort and joy.
Summary:A daughter is haunted by recollections of strife between her parents, now dead. She sides with her mother in the weekly disputes over money--the overt manifestations of a difficult marital relationship and a life lived on the edge of poverty. But in the end, she recognizes that her father "was the son of a needy father" and that her parents "were each other's bad bargain, not mine."
Summary:A college student takes a job as companion to a young composer who is considered crazy. The composer believes the ghost (Aghwee the Sky Monster) of his son visits him because his soul cannot rest; it cannot because the father allowed the child to die by agreeing to have it fed only sugar water. The composer dies when he thinks he's saving his son from being struck by a truck. The narrator, ten years later, recounts the composer's story because he connects it in his mind with an important event in his own life.
Summary:In the waning days of World War II, Hana, a Canadian nurse, refuses to leave the temporary hospital in a Tuscan villa where she cares for her mysterious English patient, a soldier burned and bandaged beyond recognition. The patient is haunted by the memory of a love affair in North Africa. Hana is joined by Kip, a Sikh bomb-disposal expert, who becomes her lover, and by Caravaggio, a friend of her father and sometime-criminal-turned spy. The three establish a loose pattern of precarious existence in a ravaged world and form a bond of love around the dying man whose identity they try to uncover.