Word: garcin
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...suppliers, foreign or domestic, are eager to sell to Bloomingdale's on an exclusive basis, if only for a limited time. "There is no better store to start marketing a French product than Bloomingdale's," declares Michel Garcin, president of Lip Time, Inc., a U.S. subsidiary of the French watchmaker...
...your life, and nothing else," says Inez, triumphantly self-described as a bitch. All the characters know why they are there; they all spent their lives destroying things--Inez a marriage, Garcin his wife's trust, Estelle her baby. But Sartre is just as clear about death; you are what you make it. Inez, Garcin, and Estelle are locked in a barren room for eternity, and they have only each other to destroy. But destruction is not possible. They are already dead and so instead create a symbiosis of torture; Inez wants Estelle, and Estelle wants Garcin, Garcin only wants...
...other two main actors do not even come close to Ms. Fisher. Joan E. Thompson as Estelle has the right idea at times, but for the most part she is just too nice. Estelle the baby-killer and Estelle the nice girl don't mix. David Sweeney as Garcin is the weakest of all; Garcin is a terribly tormented person, capable of the utmost barbarity toward his wife, and at the same time capable of a crippling self-doubt. Little of this is apparent in Mr. Sweeney's portrayal. Ms. Weeks' direction at times is good--the scenes with...
...production is that the three condemned play isolated from each other. Although the characters must meet their fates on their own, Sartre's play requires a community of desperation: Yes, they are in hell, yes, they are in hell forever, yes, they are in hell forever together. When Garcin says at the end, "Well, let's get on with it..."it should be clear to the audience that this is the only choice they have, that there is nothing else they can do. Instead, it sounds like an invitation to the cast-audience discussion afterwards...
...Perhaps everyone is resting." Everything, in other words, is equivocal. The only certainty is that Destroy, She Said is a perfect cinema parody of the maddening affectations of the French anti-novelists. During vacation week at a hotel (no, not Marienbad) in the middle of a forest, Professor Henri Garcin is seduced by another woman (Catherine Sellers) as his young wife (Nicole Hiss) looks vacantly into the camera and does a lot of wondering about illusion and reality. She is consoled by a writer (Michel Lonsdale) who talks a lot about being Jewish (no, not Philip Roth). Nothing happens...