Word: painful
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Dates: during 1960-1969
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...sheer palliative intended to satisfy everyone. It offers to the advocate of liability without fault direct insurance payments for economic loss up to $10,000, regardless of negligence. However, it retains traditional litigation based on fault for economic loss in excess of $10,000 and for pain and suffering claims above $5,000. Obviously, it will encourage claimants to increase their demands to an amount which will bring them into court-and there they will still be faced with the present outmoded concepts and procedures-and interminable delay. Compensation plans similar to workman's compensation acts are the right...
...startling comedy of anguish has opened on Broadway. Peter Nichols' Joe Egg turns blistering pain into bubbling laughter as it focuses on the vastly uncomic plight of two parents whose ten-year-old child is a spastic vegetable. While this might appear to be the epitome of black and sick comedy, the play is neither, though it is full of the modern humor of cruelty and the games people play to put each other on or down...
...father, Bri (Albert Finney), has cauterized his pain by becoming a perpetual jester. He uses the child as a kind of ventriloquist's dummy through which to josh, mimic and needle his wife and the world. In a performance of sustained pyrotechnics, Finney does petrifyingly funny parodies of a Viennese neurologist who first assessed Joe's brain damage and of a pipe-sucking Anglican clergyman who is quite unstrung to hear God described as "a manic-depressive rugby footballer." To Joe Egg's mother, Sheila (Zena Walker), the child has become another pet to coddle along with...
Documentary in style, Poor Cow opens with a closeup of Joy (Carol White) in pain. She writhes and thrashes, panting. A nurse puts an anesthetic mask over her face, and the camera moves down her body as the doctor's hands deliver the child and start it breathing. Though her husband Tom (John Bindon) is a crude, bullying, small-time criminal, Joy manages a pathetic simulation of middle-class domesticity-living in a development house, airing baby Jonny in a swanky pram, serving hostessy sandwiches to Tom's accomplices while they are plotting a caper...
...ever met Thomas Wolfe was likely to forget the force of his personality. A hearty clasp of his huge paw could mean considerable pain to the hand he had shaken. And no reader of his novels, whatever the reservations about their real worth, could easily forget their impact. That is part of the trouble that confronts Biographer Andrew Turnbull. In his conversations, which were really monologues, and in his novels, notably Look Homeward, Angel and The Web and the Rock, Wolfe spilled it all. His autobiographical heat and drive, the boiling response of his senses, are the substance...