Showing 71 - 80 of 81 annotations contributed by Woodcock, John
Beginning with its epigraph ("Some patients who have been resuscitated request that they not be rescued should they die again"), this poem explores several points along the boundary between life and death. The male subject is giving mouth-to-mouth artificial respiration to a female training dummy with "an ample chest."
After a while he notices the similarity of his motions to those of "the little death" (a euphemism for sexual climax). For all that, he tires and "she" "dies"--i.e., the tape (a cardiogram?) issuing from her side stops unwinding. When he tries to get up, he discovers that his leg is asleep, which prompts a final musing on the experience of being just about to die.
Summary:The poet-doctor-son takes his ninety-year-old mother for a walk through the park on a cold winter day. He cites the peacock as an emblem of life-spirit, but she responds by talking about dying, saying: "This winter I'm half dead, son." He wants to weep, but does not allow himself to, because he "inhabit[s] a white coat." He avoids the issue by speaking of "small, approximate things."
Summary:The doctor-speaker sets himself against "saintly" people who always "find the beautiful" in death and disasters. Allowing their "good point," he sides with the view that such things are "not beautiful." He ends with a strongly worded paradox: "[S]ometimes, I think that to curse is more sacred / than to pretend by affirming. And offend."
The film covers two days in the life of Frank Pierce (Nicolas Cage), a burned-out EMT (emergency medical technician) working the socio-economic underside of Manhattan. From the beginning, Frank is upset because recently all his patients have been dying on him, and he is haunted throughout by the hallucinated ghost of Rose, a young woman who collapsed on the street and died, apparently because he could not intubate her correctly.
Frank is highly stressed, he has no life outside his work, and he is self-medicating with alcohol. He tries to quit, but his boss keeps him on by promising time off in the future. In the film's first action, Frank does manage to miraculously resuscitate Mr. Burke, a heart-attack victim, but the patient winds up in the hospital with a very bad prognosis, so even that "saving" works against Frank.
Frank has encounters with numerous patients, many of them street people whose lives are out of control, some of whom are ER (Emergency Room) regulars, such as the demented young Noel (Marc Anthony). He also deals with (and is dealt with by) several highly idiosyncratic EMT partners in his ambulance rounds (John Goodman and others). Frank gets to know Mary Burke (Patricia Arquette), the daughter of the heart-attack victim, and they tentatively move toward being a couple who might help each other survive their lives.
Near the end, Frank, who knows Mr. Burke had tried to tear out his tubes during a brief moment of consciousness, and who feels he has been getting pleading messages from him to end his agonies, surreptitiously takes him off life support long enough for him to die. The physician who responds to the code decides not to attempt resuscitation of this patient who had already been resuscitated 14 times that day. Frank goes to tell Mary that her father has died (but not how), and exhaustedly falls asleep on her breast, apparently having forgiven himself because he has in some sense finally "saved" Mr. Burke.
Charlie Gordon is a young man with an IQ of 68 who has a job at a box factory and attends night classes in an effort to improve himself. A (very fictional) experimental brain operation becomes available that promises to triple intelligence (it has already done so for a mouse named Algernon), and Charlie excitedly decides that he wants to give it a try. The story consists solely of Charlie's diary entries from the time he hears about the operation through the operation and his dramatic increase, and subsequent decrease, of IQ.
Charlie's increased intelligence opens up to him the understanding of everyday things that had been beyond his grasp, and at his peak he soars to the level of genius, ironically identifying the flaw in the scientific work of the two scientists who developed the operation he has undergone, and thus destroying their careers as their shallow research destroys the life that had been his.
Among the everyday things Charlie understands for the first time is the fact that two of his male co-workers have regularly taken advantage of his retarded state to make fun of him, sometimes roughly. Charlie also becomes self-conscious more generally, which makes it impossible for him to stay in the place where he has been so degraded, even after his formerly misbehaving pals become sympathetic.
At the end of the story he has fallen back to his original level of intelligence--and may continue to decline, if we take the suggestion from the fate of his fellow subject, Algernon, who rises, falls, and then dies. Charlie has only a dim memory of having done something important. His self-esteem is strong, however, and he decides to leave his familiar world and find a place where people won't know about his embarrassment.
The wealthy 49-year-old Paul Dorrance, concerned about his health, summons his doctor and a cancer specialist for an examination. They pronounce him healthy, though in need of a rest from work, and Paul begins to ponder a life of renewed vigor, perhaps in marriage with a younger woman who would bear him children. Then he discovers on the floor a piece of paper containing the diagnosis of cancer.
He believes the doctors have deceived him, and his elation turns to self-pity and gloom. In that mood he decides to propose to Eleanor, his mistress of fifteen years whom he had previously decided not to marry, for companionship in the difficult time ahead. He proposes to her the same day as the consultation, without telling her of the diagnosis (even though she knows he saw the doctors).
She accepts his proposal, and she is not deterred when he reveals the harsh prognosis. Several years later Eleanor dies of a heart attack, and Paul soon discovers that on the fatal day of the consultation she . . . had done a certain thing [which readers will want to discover for themselves] that trumps Paul's egotism and manipulativeness in the relationship.
This is the story of a family struggling to deal with the accidental death of a teenage son. Calvin Jarrett (Donald Sutherland) and his wife Beth (Mary Tyler Moore) and their surviving teenage son Conrad (Timothy Hutton) live in a wealthy Chicago suburb. Some months before the time of the film, Conrad's older brother Buck drowned when the small boat he and Conrad were sailing capsized in a windstorm.
In the present we see Beth as cold, withdrawn from Conrad (Buck had been her favorite) and at times actively hostile to him and to her husband, too. Conrad, recently back home from three months in the hospital (including electro-convulsive shock therapy) after slitting his wrists, is between uneasy and agonized in his high-school and family world. Calvin remains emotionally open but is befuddled and often caught between his wife and his son, talking about things that don't matter.
Within that setting, the film tells the story of Conrad's attempts to deal with the guilt he feels after his brother's death. A series of psychotherapy sessions with Dr. Berger (Judd Hirsch) plays a crucial role. Seeing Dr. Berger also helps Cal understand some things, and when in a midnight confrontation he tells Beth of his sorrow that she has substantially changed for the worse, she proudly packs her bags and leaves. The film ends early the next morning, with Conrad and his father in an emotional embrace on the front steps of their home.
Matthew Modine plays Joe Slovak, son of a West Coast fisherman, who goes to medical school and has a hard time adjusting. The film focuses on Joe and the members of his dissection group in Gross Anatomy. Joe, perhaps because of the proud independence of fishermen, goes through most of the film with a big chip on his shoulder, refusing to take things seriously, showing up late for dissection carrying a basketball, refusing to consider the feelings of hypothetical patients, etc., while everyone else is trying their hardest to become good doctors. He falls in love with dissection partner Laurie Rohrbach (Daphne Zuniga), but he has a hard time there, too.
When Joe's roommate David is kicked out, Joe goes home to think things over. He visits Dr. Rachel Woodruff (Christine Lahti), head of Anatomy who all along has been critical of his attitude but is now at home, incapacitated with lupus. She tells him of her disappointment in her own career ("I made doctors--people need healers.") and in him, because he has never wanted to be as good as she knew he could be. She pleads with him to commit to being a good doctor.
Switch to the group's all-nighter before finals and the sudden labor pains of the very pregnant member. They all rush off to the hospital, but don't make it, and Joe winds up delivering the baby on a table in a roadside diner (soft trumpet fanfare from the soundtrack). Between Dr. Woodruff, who dies at the end, and the delivery, Joe gets the message about commitment, and he winds up with both good grades and the girl.
The second film in Oliver Stone’s Vietnam trilogy, "Born on the Fourth of July" is based on the autobiography of Ron Kovic (played in the film by Tom Cruise), a good kid whose patriotism takes him to Vietnam in the late 1960s and brings him back home paralyzed from the chest down and burdened with the guilt of having accidentally killed a fellow soldier in combat. Living at home with his parents, Ron struggles fiercely with these challenges against the exacerbating background of his culture’s anti-war and anti-vet sentiments.
Things get bad for him, he gets very angry and leaves home for Mexico to forget it all with booze, drugs, and prostitutes. That false paradise eventually fails him, however, and he returns to the States and makes some positive moves, including visiting the parents of the soldier he had killed. He winds up being a spokesman for vets, anti-war ones in particular, and at the end he is wheeling himself out onto the stage of the Democratic Convention of 1976 to huge applause, feeling, as he has just said to a reporter offstage, "I’m home."
Elizabeth, a coal miner's wife, waits anxiously for her husband to return for dinner, concerned for his safety and at the same time angry at the trouble he has made for her by coming home late, and drunk, so often. She ponders their unsatisfactory relationship and tries to keep up appearances with her two young children.
Then word comes that there has been an accident and that her husband has been killed. His body is brought into the house and laid out (undamaged because he died of suffocation). Washing the body with her mother-in-law, she goes through a complex series of reactions, including curiosity, anger, sympathy, forgiveness, and cool appraisal. She sees that the two of them had long ago rejected something deep within the other, and that they had lived utterly separate lives. At the end she is “grateful to death, which restored the truth.”