Word: selfishnesses
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...incessant shuffle of his feet, he looks like a perfectly normal neurotic. "Solid!" and "All reet!" are about all he will say in the gravelly sigh that serves as his voice, but his friends attribute great spiritual strength to him. Aware of his power over people, Monk is enormously selfish in the use of it. Passive, poutish moods sweep over him as he shuffles about, looking away, a member of the race of strangers...
...puzzling way, the appalling Roger has endeared himself. It is not just that Roger himself in odd moments has recognized that he is a pretty dreadful character. "Very angst-producing, being a snob," he confesses to his mistress. Something deeper is involved. The secret may be that the totally selfish man is pathetic as well as detestable; Roger has some of the heartbreaking quality present in the rapt self-absorption of a child alone at play. It is sad when he pulls the wings off a wasp. It is even sadder when the wasp stings him and he howls against...
...searches for means of escape, but can find none. Religion? A cardinal can only repeat banalities that have no relevance to Guido's plight. Filial loyality? His father is dead and he remembers how his selfish mother castigated him in his youth. A white-clad girl (Claudia Cardinele) tells him that she wants to bring order and cleanliness into his life; he finds her complete innocence no better than escapism. Finally he turns to thoughts of suicide (prompted by a diabolical character who springs up at his side several times during the film.) After he rejects self-destruction, he accepts...
During this ordeal, Quentin-Miller is agonized but strangely inhumane. In one telling scene where Maggie-Marilyn is crawling across the floor begging him to take the pills away from her, he lectures her with stony and selfish Freudian logic: "I take them; and then we fight, and then I give them up, and you take the death from me. You see what's happening? You've been setting me up for a murder...
...since she does not feel it. She (which is all the play calls her) is clever in speech, stupid about life. At long last, she wants to be her own woman, though there is no proof that she has ever really been anyone else's. The selfish mistakes of a lifetime gradually filter into her drawing room to offer comic rebuke. One son marries the spitfiery image of his mother, and the couple travels to the brink of divorce. Too little love, rather than too much, has turned another son into a mother...