Word: jades
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Dates: during 1970-1979
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...fire, described in wonderfully horrific narrative slow motion, is not the climax but the ignition point of Endless Love. The night of the fire, Jade and her family, the Butterfields, are performing a countercultural experiment and become paralyzed by LSD; David rushes in to save them. But his passionate arson destroys his love affair, drives the Butterfields away to another city and lands David in a downstate mental institution...
...Last Night at the Brain Thieves' Ball and Preservation Hall) Spencer builds a model of emergent love pursued to its obsessive extreme. The author constructs his tale around an apposite metaphor, catastrophic fire. Seventeen-year-old David Axelrod sets some newspapers alight on the porch of his beloved Jade's house after her parents have forbidden him to see her for 30 days. He wishes to attract attention and instead nearly incinerates Jade, her brothers and parents...
...extraordinarily complicated moments involving David and his parents, stolid ex-Communists painfully falling out of love with each other. After the fire, forbidden by a court ever to see the Butterfields again, David secretly begins tracking them down-in New York, then in Vermont. He is reunited with Jade. She is much changed, of course; it is part of Spencer's cunning to make the reader understand what an ordinary and vaguely disagreeable wom an she is becoming, and also know why David loves her so completely...
...would put an end to his continual lateness at work. Yet he tracks down, seduces, and falls in love with this same woman, all from finding a photograph of her, ripped up on the floor of a telephone booth. He forgets that he and his wife Christine (Claude Jade) are to be divorced that morning. Yet as he and his wife ride along in the taxi, Truffaut reveals through a series of flashbacks their courtship, love and marriage. The tenderness and love that still exists between them evokes a poignant sadness at their break-up. We saw them in Stolen...
Once again, Jean-Pierre Leaud delivers a perfectly realized portrait of Antoine. Playing Truffaut's autobiographical self, Leaud has merged the three: Antoine, Truffaut and himself. The rest of the performances are equally superb. Claude Jade manages to endow the solemn Christine with a rare subtlety. Nicknamed Peggy Proper because of her almost British reserve, Jade allows this woman's wit and shy humor to shine out. Marie-France Pisier performs most of the heavy dramatics; she gives her Colette a certain desperation well-suited to a woman lawyer unable to get clients and reduced to turning tricks...