Showing 61 - 70 of 157 annotations tagged with the keyword "Homicide"
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.
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.
Tessa Quayle, the young wife of a British civil servant in Kenya, is mysteriously murdered. Tessa, a lawyer, had been an outspoken human rights activist, and something of an embarrassment to her husband. But shaken from his marital and political complacency by her death and the rumors that quickly surround it, Justin Quayle sets out to solve the mystery and in doing so inherits her cause.
Tessa had discovered, as Justin now learns, that a new tuberculosis drug was being prematurely tested on Kenyan patients: clinical trials were effectively being carried out on the African population by the drug's giant pharmaceutical producer without the patients' knowledge or consent, but with the support and cover of a global corporation with African interests and of the British High Commission in Kenya. Lethal side effects and deaths were being concealed, the drug retitrated and retested in preparation for its safer and more lucrative release in the west in time for a predicted rise in incidence of multi-resistant strains of TB.
Justin, now a kind of rogue agent, uncovers the layers of sinister plotting to be expected in one of Le Carré's intelligence thrillers, but in the process we are led to consider, vividly, the interlocking roles of international biomedical research, postcolonial political interests, and global capital in determining the fates of impoverished, uneducated, and deeply vulnerable patients in developing countries--as well as the fates of those who try, often against all odds, to offer them the best available care. The novel also gives us, in Justin Quayle's odyssey, a moving study of desire, loss, regret, and, finally, outraged action.
Doebin is an island reserve for Aborigines off the coast of north Queensland. In 1930 the superintendent goes insane after his wife dies. He sets fire to his house, kills his children, and wounds others in a bloody rampage that ends in his being shot by an Aboriginal man. Interestingly, this superintendent was a benevolent dictator who actually appeared to care for the Aborigines, whom he considered childlike and treated in a strict paternalistic manner. In return, his charges respected him and called him "Uncle Boss."
The book tells this story from the perspectives of several different characters and reveals how the events of 1930 influenced their lives and bound them together in mysterious ways. We learn of the influence these events had on the subsequent lives of the island's little community: doctor, matron, schoolteacher, boarding house operator, priest, and Manny Cooktown, the man who shot and killed the madman, Captain Brodie.
Time moves on, things change. World War II comes and goes. On Doebin Island, however, Aboriginal people continue to be treated like prisoners. Benign paternalism is replaced by out-and-out hatred during the reigns of a succession of superintendents, who treat their Aboriginal charges as if they were animals.
Jimmie Blacksmith is the son of a white man and an Aboriginal woman in late 19th century New South Wales. A Methodist minister teaches him Christian ideals and Western ambition. Thus, he sets out to make a life for himself in the cash economy and to marry a white woman, who he believes is carrying his child.
For a long time Jimmie quietly overcomes one barrier after another, and calmly accepts the continuous taunting and humiliation of Christian whites, who believe that Aboriginal people are dirt. However, he finally snaps. Exploited by his boss and betrayed by his wife, he simply cannot take it anymore. Jimmie then goes on a killing spree that seems to confirm the whites' worst fears.
This is a play about gullibility, evil, and jealousy. Iago, the embodiment of evil intent, resents not having been promoted. In the opening scene, he announces his intention to avenge the wrong done him by Othello and Cassio. He devises elaborate schemes to turn Othello against Cassio by implicating Cassio in tryst with Desdemona, Othello's bride.
The scapegoating plan works and in a jealous rage Othello smothers his beloved. When he learns he has been duped, Othello kills himself. The author of the tragic deaths, Iago, is ordered by the new general, Cassio, to torture and execution.
Summary:The young Beatrice Cenci (1577-1599) is kept with her stepmother, Lucretia, in the appalling isolation and darkness of a forbidding castle outside the Papal States by her cruel father, Francesco, whose enormous debts and misdeeds make him unable, as well as unwilling, to support his offspring. He wants to prevent Beatrice from marrying to avoid paying a dowry. She has suitors, among them a “smooth” prelate, but is unhappily resigned to her lot until her father rapes her.
Summary:The young and beautiful Beatrice Cenci (1577-1599) is kept with her stepmother, Lucretia, in appalling isolation and darkness in a forbidding castle by her cruel father, Francesco, whose enormous debts and misdeeds make him unable as well as unwilling to support his offspring. He wants to keep Beatrice from marrying to avoid paying a dowry.
Summary:The world as everyone knew it ended years earlier when "the clocks stopped at 1:17" [p 45] and power was lost. Not many people are still alive. The landscape is charred and hostile with "cauterized terrain" [p 12], "ashen scabland" [p 13], and "the mummied dead everywhere" [p 20]. A father and his young son travel south towards the coast. The boy's mother has committed suicide. Papa and the child wear masks and tote knapsacks. The father pushes a shopping cart filled with potentially useful items that he has collected during the journey. The man keeps his pistol close. It only contains two bullets - one reserved for him and one for the boy.
Gerald has just married into a close knit Kentucky family. So when the kin receive word that Ory, one of his wife’s brothers, was shot by his girlfriend, Gerald gets the job of driving to Nebraska to pick him up. When he arrives in Wahoo, the Indian doctor at the hospital tells him that Ory had a "blood clot" and died.
The sheriff takes Gerald to the jail to meet Ory’s girlfriend, who shot him in an argument about a wig. Later, he decides to take Ory back to Kentucky. Two days later he arrives home with the corpse covered with dirt in the back of his pickup. "The stench was bad and getting worse." (p. 31)