Word: mother
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Dates: during 1980-1989
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Broderick is brilliant as the title character. As Ferris he is charismatic, magnanimous, ironic, confident and independent, yet cutely boyish. Once you've seen Broderick, it's difficult to imagine any other actor playing a character innocent enough to get away with faking illness to his loving mother, and cunning enough to set up a bizarre array of equipment to cover for his not being home...
...much to find touching. Following the plan of Organizer Ken Kragen, who had also headed the USA for Africa campaign, the line began and ended with homeless people. In New York City's Battery Park was Amy Sherwood, 6, who until last month had been living with her mother and two sisters in a Manhattan welfare hotel. Little Amy also came to symbolize opportunity: she has signed a talent- agency contract that may soon bring her wide smile and pigtails to TV commercials...
...monkeys are the seven Vincent children: Caitlin, Sophie, Delilah, Gus Jr., Sherman, Chicky and Minnie, the youngest. Their father, Augustus Paine Vincent, a banker and yacht-club member, has the low profile of old-line Boston. He is the weak silent type and a heavy drinker. His wife, and mother of the brood, is the former Rose Marie O'Dare, Irish Catholic and a fine choice. One suspects that the Vincent bloodline had thinned since the days of the vigorous Yankee traders and that Rose Marie brought an unaffected vitality to the clan. She makes babies as easily as some...
Father's melancholy and Mother's sunny disposition determine the weather that pervades the book. It breaks over the breakfast table, at Thanksgiving dinner and during vacations at the family's summer house in Maine. Time takes big jumps, and each episode finds the Vincents older. The girls begin dating, smoking and drinking, and the boys start sneaking off for marijuana nightcaps. Dad grows increasingly predictable ("nothing more normal than for him to be standing in the shade at a family picnic holding a can of beer"), and then Mother is dead...
...liquid eyes bulging at the rival lens. One image shows him feigning sleep. He lies mountainously in the garden of his house in Coyoacan, his head pillowed on the stony side of an eroded pre-Columbian head. He is pretending to be a big baby dozing by his mother, the Mexican past, touching the root of contentment. No other photo so pungently expresses Rivera's idea of his own history, as an artist born to link the old Mexico with a new, postcolonial...