Speaking of this movie, I want to quote the end of a short story by Raymond Carver, Intimacy, which is in the collection The three yellow roses, and where the narrator visits his ex-wife. She insulted him throughout the visit, he did found nothing to answer him, except that he agrees with her, and he knelt before her, without reason, without crying, just to kneel and touch the hem of her skirt. Leaving her home, that's what he said "I walk away along the sidewalk. At the other end of the street, children make passes with an oval ball. But these children do are not mine, and they are not either. The street was littered with dead leaves. Even the gutters are full. Wherever facing me, there are piles of dead leaves. And so it falls to others on my way. At every step I crush under my soles. would have someone make an effort. Someone should take a rake and put some order there. "
I cited this passage for several reasons. The first and most obvious is that tidy obsession is never done by Betty, a mother raising her two daughters since her husband died (death, but he left her before, ever she stated, to give us a greater insight the penury to which she is). His influence in her radioactive gamma ray on his two daughters Daisy, has various effects. The youngest sip of fear and retreats into the silence of a life pre- laboratory assistant. The other is sip of hatred and screaming at night and sometimes because of epileptic seizures - his only relief is to imitate his mother reading the newspaper during drama classes in high school. This mother, toxic, tries to instill his hatred of life to his two daughters. The youngest it apart. His passion for science opens up a world much bigger than what her mother says. She realized long ago that the famous cheesecake that made the glory of Betty really is not and never will, despite repeated promises of a party always procrastination.
The second reason is that the film is full of what has been the strength American literature of the 40 to 70. You can find Carver for alcoholism and sentimentalism horror that emanates from the little people, chronic indecision, the lasting impression of having spoiled his life and can spoil it a bit more (amazing scene where Betty , learning that she will have to go on stage if her daughter receives an award for her science experiment, panic, infant, and again, terrified, she says the words: "My heart is full of joy");
found Carson Mac Cullers for bad luck and human decay which continues to show the architecture, and also to the character of a young girl (Matilda) brilliant and withdrawn, and her science teacher so poetic and tender he is suspected of being gay or pedophile (why does it ask to close the door the class when he is touching the hand of a student? why he offered a rabbit to Matilda? whence can this profound kindness, if not from some defect or mental sexual? - we are in a small town, and people who live there were born there, so the suspicions are they very fast, rumors swell and freeze the characters in masks events);
Tennessee Williams also Betty for this alcoholic, prisoner of a past glory absolutely imaginary, this time, she says, she was the queen of the school, always a joke, always delegated. The film is also from a play by Paul Zindel, author completely unknown to me. Anyway, this is the literature of a country and an era that vibrates in every frame of film by Paul Newman. From cinema
also: Joanne Woodward is Gena Rowlands, among others, or a Barbara Loden (Elia Kazan's wife who realized the terrible Wanda), in short, an actress willing to degrade himself up to touch, in ways and pathetic buffoons, the deepest emotion. Saying all layers, all layers of being broken, lost in the depths of himself and not finding the way out. Joanne Woodward accepts it, probably because it's her husband who shoots. Her husband, Paul Newman, who, as an actor, has always seemed profoundly good, humane, kind, and that makes this film a true democrat. A film that looks at lost souls without stigmatizing them (just the opposite Clint Eastwood), which makes them a place without attempting to change their lives, who are admired, even in some way ambiguous, where cruelty and tenderness mingle.
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