Word: monicas
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...paraphrase former Louisiana Governor Edwin Edwards, it takes being caught in bed with a dead girl or a live boy to get a politician in trouble, and that's doubly true in the Age of Monica. There's no evidence that Condit is connected with Chandra's disappearance, but there is a lot of evidence that he is connected to her. Once Chandra went missing, he had an obligation to tell everything he knew about her in a timely way. While the Levys are searching for the daughter they pray is still alive, Condit seems intent on searching...
...give pleasure and, in David's case, offer joy. Gigolo Joe is a sex machine, David a love machine. The toy boy's sole purpose is to give and elicit affection. His obsession (in Kubrick's terms) or dream (in Spielberg's) requires him to do everything to achieve Monica's love--after she renounces him, after she abandons him, after she's gone. The woman is unworthy, but she's all he has, all he needs to get back...
...Monica, initially spooked by this shiny-faced, irrevocably pleasant simulacrum of a boy, comes to appreciate David's virtues; he has no flaws, except that he is not "orga" (organic) but "mecha" (mechanical)--and not Martin. From a closet she retrieves an old supertoy, a stuffed bear named Teddy, who becomes David's most faithful companion. Soon David is calling her Mommy. Bereft of her only natural child, she cradles this artificial one. Bathed in Nativity light, mother and child melt into a Pieta...
...unfortunate accidents persuade Monica to abandon David in a forest. Quick as a face slap, David and the audience are in a strange new world containing refugee robots with half-faces and a jaunty "love mecha" named Gigolo Joe (Law). In Kubrick's script, says Law, "Joe was much more aggressive, more twisted." Here he is, in Spielberg's word, David's "scoutmaster." (This was the section Kubrick could not solve and which Spielberg, in developing it, has softened. The Kubrick version would have been rated R; this film...
...give pleasure and, in David's case, offer joy. Gigolo Joe is a sex machine, David a love machine. The toy boy's sole purpose is to give and elicit affection. His obsession (in Kubrick's terms) or dream (in Spielberg's) requires him to do everything to achieve Monica's love--after she renounces him, after she abandons him, after she's gone. The woman is unworthy, but she's all he has, all he needs to get back...