Word: tenements
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...immediacy. The footage seems to have been shot in the fly-on-the-wall manner of Film Maker Frederick Wiseman, but the editing is both jumpier and crisper than in Wiseman's works. In one se quence, the camera pans up an icicle-festooned stairwell inside a Newark tenement, enters an apartment squalid beyond words and comes to rest on an infant cooing over its bottle. No one states the obvious: that child will never have a chance. The faces of parents appear, studies in anger and bewilderment. Visibly, they are passing on pain to children doomed to repeat...
...slumps up the tenement stairs, leaking sighs, an old, sick, fat woman with an elastic bandage on one leg. Can this really be Simone Signoret, the stunning actress who won a 1959 Oscar for her role as Laurence Harvey's lover in Room at the Topi? Yes. Time is a carrion-eating bird, and this is what appears left of Signoret, 57, unrecognizable except for those cat's eyes. She is cast all too convincingly as a broken-down ex-hooker who squeezes out a living in a seedy quarter of Paris by being a foster grandmother...
...chose some other manner to do so. Gornick believes that these people became Communists simply because they "cared more." They cared about the people in the mills and the mines, about the migrant workers, about the immigrants who sought a bright new life and found only a dank tenement. But instead of stressing the moral or political outrage that fed their "caring," she harps on their emotional needs. Human beings, she tells us in a remarkable burst of insight, need to find meaning in life. Moreover, she reveals, people need to overcome feelings of isolation. The Party was an elixir...
...large and strong, iron-muscled, youthfully indestructible, for I had already survived and made my peace with every bestiality and indignity that poverty exacts. I was the product of the gutter and the gang, the lousy, bedbug-ridden tenement, the burning streets and the empty lots. I had carried brass knucks and used them, and in my animal world, I was beaten and I beat others...
...feeding it to us bit by bit, memory by memory. The repeated staccato phrases throughout A Book of Common Prayer, like the responsive readings in a hymn book, form the kernels of the emerging past for Charlotte. Like a slightly too-intense light, which reveals the dinginess of a tenement corridor, Didion effectively uses these chorus-like chants and staccato phrases to amplify the thoughts Charlotte is trying to block. They are echoes of the past that climb up into the present. In much the same way that Marin uses revolutionary rhetoric a deny her past, Charlotte uses a process...