Word: confronted
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Dates: during 1980-1989
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...addresses itself seriously and intelligently, without sermon or sociology, to an inescapable human issue: in this case, finding a decent ending for a life. By inviting audiences to contemplate the struggle of two attractively idiosyncratic old parties coming to terms with mortality, On Golden Pond gently requires them to confront that same inevitability in themselves. In short, those serene images of the film's opening are deceptive; age is not entirely golden on Golden Pond; dark currents flow just beneath its surface...
...WIFE, Linda, participates unconsciously in perpetuating Willy's delusions; she pretends not to know his salary has been slashed to the bone and that he borrows money from a friend each week to bring her a "salary." She does not confront him with the rubber pipe he hides in the basement and doesn't tell him she knows he wants to kill himself with it. Linda chastizes ungrateful Biff when he rebels; he is trying to shake off the chains of his father's beliefs about him. "You wretch! You don't know, but I'll tell you! That...
...charges as popular music's bad little mannish boys. And then, once those boys grew up, came the years totally clouded over by drugs, debauchery, and disillusionment, leading ultimately to Brian's death and the rebirth of the others. Struggling to reassert themselves, the Stones were forced to confront a new problem: how to keep the act spontaneous and rebellious after more than a decade of two-four rhythm. The familiar events are all thrown in, but portrayed from new and interesting angles. The drug bust at Redlands, the tragedy at Altamont, the transition from Mick Taylor to Ron Wood...
...with Black Humor when all along his theme had been gallantry and inquisitiveness. The guest stars have their fun, the midgets get back their divine employment. But Kevin is on his own in the world, with only a stack of postcards--enough to tell him he was there, to confront him with the brutal fact that he's back here...
...rather than satisfying us. Some, like the Bond films, require extravagant endings to satisfy the suspense. Thomas has picked a genre which requires not extravagance, but skill. Yet she supplies neither. This ghost story can not succeed without an effective ending, one in which the ghost and its victim confront each other squarely. In The Haunting of M, the ghost is never vanquished, merely disappointed by Marianna. Thomas ending seems muted in its Victorian delicacy. Marion, wrapped in such timeless wrath, should be less amenable to the coquettish defenses of Marianna...