Word: mamas
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Dates: during 1980-1989
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...Bonnaire stars as the teen-age Suzanne in this doggedly unsentimental French film from Writer-Director Maurice Pialat. Suzanne's family has stayed together by corseting all hostilities. Then she discovers the power of her own erotic impulse. Overnight, Daddy's little girl is a slut in Mama's eyes, and the family falls into convulsions of jealousy and hatred. Like the off-Hollywood films of John Cassavetes, A Nos Amours is less drama than psychodrama; it wears its artlessness as a badge of intrepid truth-telling. Bonnaire's artlessness though, marks her as an exotic...
...Paulina's thigh while foraging for another customer's potatoes. Everybody in town knows about them: Paulina's neurotic bookkeeper (Elisabeth Trissenaar), the snoop-exhibitionist next door (Marie-Christine Barrault), even Paulina's seven-year-old son. He discovers them flagrante delicto in the storeroom; Mama eyes him solemnly, closes the door and returns to her pleasure. "Me, beautiful?" Paulina remarks to Stani. "But I could be your mother." And Stani replies: "My mother is beautiful too." This is a suicidal passion that condemns the lovers with every caress, but they are oblivious to the consequences...
...mouths of sassy teenagers comes the truth. Somewhere between Sam's smooth talk about opening up a security firm, somewhere between promising to open up a restaurant and "make things work out," something seems to go wrong, Cocaine, nearly as American as divorce, enters the scene and blasts Mama Livingston out of reality. Jake and Brian meet Sam's strange friends, find Mom and Sam crashed out on the couch after some coke blizzard and learn that Sam is moving in. "Just like that?" Jake asks. "We live here...
When he is at full boil, Tosches writes the way Little Richard talks. Wanda Jackson, purveyor of 1958's excellent Fujiyama Mama ("When I start eruptin', ain't nobody gonna make me stop"), was simply "too hot a package to sell over the counter." Louis Jordan "made party music . . . in which every aspect of the expanding universe was seen in terms of fried fish, sloppy kisses, gin, and the saxophone whose message transcends knowing." Very hep and very fond, Unsung Heroes also includes an "Archaeologia Rockola," which can direct the untutored reader to such diverse selections...
...provides a rare sight: a Brick who actually looks and talks like the ex-football player he is supposed to be. (Jones was an all-Ivy, all-East offensive guard at Harvard in the 1960s.) Kim Stanley (who played Maggie in the 1958 London production of Cat) makes Big Mama a more sympathetically human figure than one has a right to expect. Only Rip Torn, as Big Daddy, seems miscast. He has the bluster but not the bombast of the aging tycoon, and his Southern accent contains a trace of irony that seems to emanate from the actor...