Word: ragingly
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Roth gets it just right: the cadences and diction of the provincial and the pretentious, the fresh edge of Nathan's ambition, his helpless rage and the confusion of his victims. Zuckerman will do anything for a good line. He imagines going home with news for his mother. "I met a marvelous young woman while I was up in New England. I love her and she loves me. We are going to be married." "Married? But so fast? Nathan, is she Jewish?" "Yes, she is." "But who is she?" "Anne Frank...
...happy one. Ross not only characterizes Jamie's father (Terry Kiser) as a desperately hip playboy, she must also give him a bachelor pad so overdone that even Hugh Hefner would find it garish. Jamie's mom (Roberta Maxwell), meanwhile, is required to go into a burlesque rage at the mere mention of her ex-husband's name. Ross shows far more respect for the kids, who are so truthfully drawn that they seem to have wandered in from another movie. Still, credible grownups are needed if Rich Kids' conflicts are to have any meaning...
Enter to grow in rage. RAGE The kind of rage that makes you want to bomb banks, smash parking meters and kill important people. Powerful, beautiful rage...
...humane man. During World War II he personally sheltered a number of Jews. But he will be remembered for his official acts to ward off the influence of the modern world, which he felt threatened piety and the church, and which he described as "prey to an ardent rage for novelties." Ottaviani once said: "There is only one principle which counts. The church as service. And to serve it means to be faithful to its laws. Like a blind man. Like the blind...
...unsettling view. An adolescent stumbles through a fog of self-fascination, with no clear view of himself; then, by the time he is grown and has children of his own, a swirl of love and rage occludes his perception of them. Literature offers a useful look, but most often it is a look at that minority of tormented adolescents whose members grow up to write novels about the pain of puberty, not the joy. Films of the traditional sort did not risk truthtelling, largely because of the hoodoo of sex. What they gave us was Mickey Rooney and Judy Garland...