“Yours” is a 1982 short story by American writer Mary Robison. The year before The New Yorker published this short story, Robison published a novel called Oh! which was adapted for film in 1989. The film is called Twister. I don’t meant the late 90s blockbuster but a domestic drama set during a cyclone.
As for “Yours”, this is a very short story, so won’t take long to read. But you’ll probably want to read it again right away. Otherwise you may be left wondering what it’s all about, especially regarding the significance of the pumpkins.
THE PUMPKIN AS SYMBOL AND MOTIF
The pumpkin is clearly a motif. What’s the difference between a symbol and a motif? Symbols are more universal. They tend to stand for the same sorts of things across different stories, and even across time and culture. Motifs work like symbols, standing in for something else, but they are specific to the work of art at hand.
So what do pumpkins symbolise, generally? Hallowe’en, for Americans, and increasingly for the rest of the world. (Here in Australia kids are starting to Trick or Treat, even though Halloween happens in spring.)
Pumpkins are also sometimes a sexual symbol. (What isn’t?)
Mary Robison’s short story is set around Hallowe’en, so the story utilises the Hallowe’en pumpkin as part of the plot. But these carved pumpkins are doing more than simply establishing a Hallowe’en setting. Let’s take a closer look.
There is a spectrum of how real-world a story feels. Realism is a widely misunderstood term even within literary studies today. The terms are used differently depending on location. They’re also heavily classed and slightly gendered to boot. Humanities scholars spend a lot of time arguing about the meaning of realism.
But let’s at least try. I offer a classification via continuum, with fully realistic at one end and more fantastical at the other.
At the ‘realistic’ end we start with naturalism. At the other is ‘speculative realism’. After that we’re firmly in speculative fiction realm.
This term is often used interchangeably with realism. But if you want to talk about realism as a group of terms, naturalism is at the MOST realistic of these different types of realisms. Basically, any hint of romanticism is completely stripped away. The subject is neither idealised nor flattered. Writers also keep God right out of the picture. The tone is generally pessimistic.
Realism/naturalism emerged in the 1800s. Sometimes the difference between naturalism and realism depends on the subject matter, or rather, the perceived class of the person who wrote it.
In works labelled ‘realism’, the main focus is on the middle class and its problems. Naturalism often focuses on less educated or lower-class characters. This word is also often used to describe work involving violence and the taboo. So, things which middle class reviewers and commentators find uncomfortable, alien and other.
SOCIAL REALISM AND KITCHEN SINK DRAMA
You’ll also hear the term ‘Kitchen sink realism’. This sometimes describes work which draws attention to the middle class and its problems. “Kitchen sink realism’ or ‘Kitchen sink drama’ were terms coined to describe a British cultural movement which developed in the late 1950s and early 1960s.
The United Kingdom experienced massive cultural change in this era. The Conservative Party won the 1951 election with their slogan “Set the People Free”. The British public felt more free, more affluent and eager to shuck off the rigidity of the past. People were questioning and ridiculing the cultural conventions which came before.
John Bratby was a painter who lived 1928–1992. His paintings are a standout example of Kitchen Sink art. See, for instance “The Toilet“, a 1955 painting of an actual toilet. Bratby was also a writer. The ‘Kitchen Sink art‘ tag at the Tate Modern includes Edward Middleditch and Peter Coker in its results. Paintings sport titles such as “Mother, Child and Bedsprings” and “Still Life With Chip Fryer”.
The main characters of so-called kitchen sink dramas were frequently angry young men. Kitchen sink dramas utilised social realism which, to British art looks like:
Britons living in cramped rented accommodation
Evenings spent drinking in dank local pubs
Kitchen sink drama started as a condescending term but these days people might try to use it without ascribing morality. Early storytellers who departed from writing upper-class stories set in drawing rooms included Arnold Wesker and Alun Owen.
Arnold Wesker’s play Roots (1959) literally opens with a character washing dishes at a kitchen sink.
Roots focuses on Beatie Bryant as she makes the transition from being an uneducated working-class woman obsessed with Ronnie, her unseen liberal boyfriend, to a woman who can express herself and the struggles of her time. It is written in the Norfolk dialect of the people on which it focuses, and is considered to be one of Wesker’s kitchen sink dramas. Roots was first presented at the Belgrade Theatre, Coventry in May 1959 with Joan Plowright in the lead before transferring to the Royal Court Theatre, London.
(Gene Wilder, who older readers may know as Willy Wonka from the first movie adaptation of Charlie and the Chocolate Factory got his start in an American production of Roots.)
Look Back In Anger, a 1956 play by English playwright John Osborne, is another early standout example of Kitchen Sink Realism. Typically for the category, the main character is a working class angry young man by the name of Jimmy Porter. This character captured the angry and rebellious spirit of the post war generation.
There are a handful of films, all produced between 1959 and 1963 considered part of the New Wave Kitchen Sink canon. Aside from Look Back In Anger, those films include:
Room At The Top (1959): In late 1940s West Riding of Yorkshire, England, Joseph (Joe) Lampton, an ambitious man who has just moved from the dreary factory town of Dufton, arrives in Warnley to assume a secure, poorly paid post in the Borough Treasurer’s Department.
Saturday Night and Sunday Morning(1960): A young machinist, Arthur, spends his weekends drinking and partying, all the while having an affair with a married woman.
A Taste of Honey (1961): Set in Salford in North West England in the 1950s, this film tells the story of Jo, a seventeen-year-old working class girl, and her mother, Helen, who is presented as crude and sexually indiscriminate.
A Kind of Loving (1962): Vic Brown, a young working class man from Yorkshire, England, is slowly inching his way up from his working-class roots through a white-collar job. Vic finds himself trapped by the frightening reality of his girlfriend Ingrid’s pregnancy and is forced into marrying her and moving in with his mother-in-law due to a housing shortage in their Northern England town.
L-Shaped Room (1962): from the 1960 novel by Lynne Reid Banks, who you may recognise for her children’s books. A 27-year-old French woman, Jane Fosset (Caron), arrives alone at a run down boarding house in Notting Hill, London, moving into an L-shaped room. Beautiful but withdrawn, she encounters the residents of her house, each a social outsider in his or her own way, including a gay black horn player. She is pregnant and does not want to marry the baby’s father.
Billy Liar (1963): William Fisher, a working-class 19-year-old, lives with his parents in the fictional town of Stradhoughton in Yorkshire. Bored by his job as a lowly clerk for an undertaker, Billy spends his time indulging in fantasies and dreams of life in the big city as a comedy writer.
This Sporting Life (1963): A rugby league footballer, Frank Machin, lives in Wakefield, a mining city in Yorkshire. His romantic life is not as successful as his sporting life.
However, there were a number of very good ‘B-side’ (low-budget) Kitchen Sink dramas which, purely for economic reasons (not artistic ones) are not considered Kitchen Sink canon.
The Leather Boys (1963, 1964): Dot and Reg are a young Cockney couple who get married then start to fall out of love. Reggie grows closer to his friend Pete. At the end of the film, Reggie is revealed to be gay. The film is based on a 1961 book by Mary Ann Evans (published under the pseudonym Eliot George). The novel makes much more of the gay storyline.
That Kind of Girl (1963): This is a sexploitation film, but also happens to be the first British film to deal with the issue of STIs (or VDs as they were called back then).
This Is My Street (1964): Set in Battersea, Margery Graham is a working class housewife who feels stifled by her circumstances. So she has an affair with her mother’s lodger. She attempts suicide after he fails to return her affections. The setting is a South-West London in the throes of post-war reconstruction.
The Little Ones (1964): Two boys, Jackie and Ted, decide to run away from home together. Ted comes from a one-room East End flat and his mother is physically abusive. Jackie’s mother is a sex worker who doesn’t care much for her own offspring (a la Fish Tank, a contemporary example of domestic realism). Jackie’s absent father is from Jamaica, so the boys plan to make their way there.
The Family Way (1966): Just a few years later, this film sits right on the border between Kitchen Sink drama and what came next — the Swinging Sixties (which didn’t happen until the late 1960s). This border has been called ‘The Mid-decade Divide’, but was written five years before release. In the story, a young woman called Jenny is newly married to a young man called Arthur. They’re unable to have sex and are under heavy pressure to do so by their family and social network. Arthur is roundly humiliated.
In 1966 the BBC commissioned Ken Loach to adapt the Jeremy Sandford play Cathy Come Home. This is the story of a young working-class couple called Cathy and Reg Ward. They start their married life full of hope but then Reg loses his job. They have to move into council housing. They have three kids and then they are evicted. They move into a caravan. The caravan burns down and the couple split up. The story only gets worse from there, but this film proved really popular across Britain. Cathy Come Home was one of the few stories to highlight the British housing crisis of the late 1960s. (Ken Loach then went on to have a full and successful career making feature-length films.)
This film did much for the status of documentary.
Social realist films often make use of the hand-held camera for added verisimilitude.
Note that ‘social realism’ frequently describes Australian, New Zealand and British working-class fiction but not North American fiction. Notice, too, the classism. When writers from the middle and upper socio-economic classes write about their own lives and childhoods reviewers frequently describe them as ‘beautiful’ writers. With working class authors and subject matter, those same reviewers use the descriptor ‘realist’.
Lately there is a movement among Latinx people from South America to keep the term magical realism specifically for South American writers using magical realism to write stories about the South American experience of colonisation.
The argument is that another word exists which we can use for everything else — fabulism.
While I have some sympathy for this view, literary gurus point out that magical realism did not begin in South America, and there are many reasons for making use of magical realism in storytelling.
I don’t know. I’d be happy to call it fabulism myself, if people knew I meant the same thing as ‘magical realism’, only not from South America.
Fabulism is especially popular in literary middle grade fiction, and I’ve noticed literary agents and editors are constantly on the hunt for it, and keep complaining that true examples of magical realism rarely cross their desk.
This is a concept coined by the Granta Magazine guy. He is actually an American who moved to England. So the term is used in England, whereas Americans might call the same thing ‘minimalism’.
Dirty realism describes a specifically North American way of writing. The author focuses on the seedier, mundane, nasty bits of everyday life.
Many of these writers are white men: Richard Ford, Cormac McCarthy, Raymond Carver. But there are also some women. Take Carson McCullers, Annie Proulx.
When you find dirty realism in a short story, it’s often called Kmart Realism.
There is a reality independent of humans’ conscious perceptions of it. The world is as it is and what humans think of it is irrelevant. If this describes your worldview, here’s your metaphysical realist card.
Okay, so are we still talking about realism now? This is a term suggested by a guy called Ramón Saldívar (an American professor and author) to describe work which is a hybrid between speculative genres and any of the different levels of realism.
In children’s literature, the book American Born Chinese by Gene Luen Yang is a contender for speculative realism. American Born Chinese is an experiment in discussing minority racial identity through metaphor made possible through genre blending. The experiment leaves us ultimately with a parallel between a monkey god from folklore and a young adult American-born-Chinese in a realistic context. For more on that, see here.
Before we had clocks, humans paid more attention to the sky and environment. Read older classics such as the novels of Thomas Hardy and notice how characters make use of all their senses once the sun goes down. They couldn’t simply flick on a light. Even though candles have long been available, they were expensive. My own Northern Irish peasant ancestors were well-accustomed to darkness.
I know this partly because an optometrist told me I have large pupils which don’t dilate down all that well. Especially when young, I had no trouble navigating the dark. Like many child readers, I was constantly told to turn on a light.
Clocks (and later, home lighting) changed our entire mode of being:
So kind of 13th, 14th century, mechanical clocks start diffusing and they start in Italy, but they rapidly go from city to city and towers are trying to one off other towers and they would ring bells. And it led to the city kind of literally running like clockwork, like they ring the bell and everybody wakes up and then has breakfast and then there’s the lunch bell and so the city begins to run like clockwork. But the clock doesn’t diffuse into the Middle East and other cultures didn’t seem to have the immense interest in getting a clock the way the Europeans do.
Industrialisation also put an end to genuine beliefs about certain magical times of day.
THE BLUE HOUR
The blue hour is mostly a photography and art concept. Especially on older cameras, photographs taken at the ends of the day turn out better than when taken under bright sunlight. The blue hour comes from French l’heure bleue and refers to the period of twilight when the sun dips below the horizon, causing residual sunlight to cast a blue light over the landscape.
“Extra” is a short story by Chinese-American author Yiyun Li. Deborah Treisman and Sarah Shun-lien Bynum discuss this story in 2021 at the New Yorker Fiction podcast. This was the second story Yiyun Li published anywhere. “Extra” was included in Li’s 2005 debut collection A Thousand Years Of Good Prayers.
Brilliant and original, A Thousand Years of Good Prayers introduces a remarkable new writer whose breathtaking stories are set in China and among Chinese Americans in the United States. In this rich, astonishing collection, Yiyun Li illuminates how mythology, politics, history, and culture intersect with personality to create fate.
From the bustling heart of Beijing, to a fast-food restaurant in Chicago, to the barren expanse of Inner Mongolia, A Thousand Years of Good Prayers reveals worlds both foreign and familiar, with heartbreaking honesty and in beautiful prose.
CHARACTERS OF ANY AGE CAN ‘COME OF AGE’
When we think of a ‘coming-of-age’ story we generally think of teenagers and young adults. Yiyun Li’s “Extra” is a good example of a coming-of-age story about a character who is in many ways a metaphorical newborn but not young in years.
As the story opens Granny Lin has just lost the job she worked at for her whole life and she is about to describe the experience as a dream. Yiyun Li could have chosen to interweave prior experience into Granny Lin’s story of the present, but did not. Granny Lin is an excellent example of a truly in statu nascendi character. Another author who wrote like this was Modernist short story writer of the early 20th century, Katherine Mansfield.
TECHNIQUES OF NOTE
“Extra is a wonderful example of a short story which avoids giving the main character backstory. This isn’t just done to keep the short story short. There’s a narrative reason for it.
As an aside, the author has claimed that at time of writing she barely knew what a backstory was, a good example of how authors don’t necessarily need to know all the theory and literary terms before writing an excellent story. Some do, of course. Margaret Atwood can talk at length about storytelling as a craft, linking it to history, politics and myth.
Readers don’t realise until after the reading experience how adeptly Yiyun Li transitions between summary and scene. Sarah Shun-lien Bynum points out, “We barely notice the shifts between summary and scene because the routines of her life and the habits she creates are all summarised, but the summaries are rendered as visibly and palpably as a scene would be.”
The descriptions of routine — technically flashbacks — are so vivid and engaging that we don’t realise we’re not in the present time.
When The Sky Is Like Lace (1975) is a picture book written by Elinor Lander Horwitz and illustrated by Barbara Cooney (1917-2000). If you read Wind in the Willows and wanted more otters, this one’s for you. (I’m not familiar with otters but I think these may be river otters rather than sea otters?)
Some picture book authors have the ability to tune into a childlike way of speaking. When The Sky Is Like Lace achieves that voice magnificently. For other picture book examples of childlike speech patterns, check out the work of Chris McKimmie, e.g. Good Morning, Mr Pancakes. Books like these are often described as ‘whimsical‘.
Gender is in Western culture a relational concept. And “masculinity” relies on a binary relationship with femininity. Non-binary people have existed since the dawn of humankind, and are now cracking open proscribed Western gender expectations for everyone.
Here are a few authors contributing to the conversation.
EUPHORIA KIDS BY ALISON EVANS (2020)
Australian young adult fantasy
Ever since the witch cursed Babs, she turns invisible sometimes. She has her mum and her dog, but teachers and classmates barely notice her. Then, one day, Iris can see her. And Iris likes what they see. Babs is made of fire.
Iris grew from a seed in the ground. They have friends, but not human ones. Not until they meet Babs. The two of them have a lot in common: they speak to dryads and faeries. They’re connected to the magic that’s all around them.
There’s a new boy at school, a boy who’s like them. He hasn’t found his real name. Soon the three of them are hanging out and trying spellwork together. Magic can be dangerous, though. Witches and fae can be cruel. Something is happening in the other realm Despite warnings to stay away, the three friends must figure out how to deal with it on their own terms.
Recommended for fans of Francesca Lia Block and Studio Ghibli films.
THE PRONOUN LOWDOWN: DEMYSTIFYING AND CELEBRATING GENDER DIVERSITY BY NEVO ZISIN (2021)
Thanks to the efforts of trans and gender-nonconforming activists, gender-diverse experiences are no longer able to be ignored. These lived experiences (the joyful and the painful) are being seen and heard. This book highlights, demystifies, and celebrates the lived experience of trans and gender-nonconforming folk.
The Pronoun Lowdown is an illustrated history of how the gender binary came about, from ancient Greece to now. Alongside personal anecdotes, it provides examples of subversive historical figures, and demonstrates the gender-neutrality of ye olde language (Shakespeare’s and Oscar Wilde’s included).
There are also examples of “how to” and “how to not” ask for someone’s pronoun, and other advice for avoiding generally bad behavior. (We needn’t be gendering a stranger’s dog, people. C’mon!) This book also breaks down how different languages navigate (or, struggle to navigate) pronouns.
Nevo was not born in the wrong body. Nevo just wants everyone to catch up with all that Nevo is. Personal, political and passionate, Finding Nevo is an autobiography about gender and everything that comes with it.
GENDERQUEER BY MAIA KOBABE (2019)
American, graphic novel, memoir
In 2014, Maia Kobabe, who uses e/em/eir pronouns, thought that a comic of reading statistics would be the last autobiographical comic e would ever write. At the time, it was the only thing e felt comfortable with strangers knowing about em. Now, Gender Queer is here. Maia’s intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma of pap smears. Started as a way to explain to eir family what it means to be nonbinary and asexual, Gender Queer is more than a personal story: it is a useful and touching guide on gender identity–what it means and how to think about it–for advocates, friends, and humans everywhere.
A HOUSE FOR EVERYONE: A STORY TO HELP CHILDREN LEARN ABOUT GENDER IDENTITY AND GENDER EXPRESSION BY JO HIRST AND NAOMI BARDOFF (2018)
Australian picture book
Jackson is a boy who likes to wear dresses. Ivy is a girl who likes her hair cut really short. Alex doesn’t feel like ‘just’ a boy, or ‘just’ a girl. They are all the same, they are all different – but they are all friends.
At lunchtime, all of Tom’s friends gather at school to work together building their house. Each one of them has a special job to do, and each one of them has a different way of expressing their gender identity.
A very simple story that challenges gender stereotypes and shows 4 to 8 year olds that it is OK to be yourself. An engaging story that is more than just an educational tool; this book will assist parents and teachers in giving children the space to explore the full spectrum of gender diversity and will show children the many ways they can express their gender in a truly positive light.
Of Mice and Men is a 1937 novella by John Steinbeck. Two migrant ranch workers move from place to place in California looking for work during America’s Great Depression.
This social protest novel is widely studied with high school English literature students. But, where funding allows, English teachers are starting to replace class sets Of Mice And Men with better options.
So, if a school is able to replace John Steinbeck’s Of Mice and Men with a more contemporary, and better, novel, what are those options? Below are seven alternatives, the bulk of them published in the last five years.
PURPLE HIBISCUS BY CHIMAMANDA NGOZI ADICHIE (2012)
Fifteen-year-old Kambili and her older brother Jaja lead a privileged life in Enugu, Nigeria. They live in a beautiful house, with a caring family, and attend an exclusive missionary school. They’re completely shielded from the troubles of the world. Yet, as Kambili reveals in her tender-voiced account, things are less perfect than they appear. Although her Papa is generous and well respected, he is fanatically religious and tyrannical at home—a home that is silent and suffocating.
As the country begins to fall apart under a military coup, Kambili and Jaja are sent to their aunt, a university professor outside the city, where they discover a life beyond the confines of their father’s authority. Books cram the shelves, curry and nutmeg permeate the air, and their cousins’ laughter rings throughout the house. When they return home, tensions within the family escalate, and Kambili must find the strength to keep her loved ones together.
Purple Hibiscus is an exquisite novel about the emotional turmoil of adolescence, the powerful bonds of family, and the bright promise of freedom.
Are you weary of films about people younger than yourself? You may be over 40. Here are some suggestions.
Most films about people over forty are men, so the list below is woman heavy.
Some of these stories are really about young people, but told with the framing story of an older person looking back, so I’m not sure they really count as stories about older people.
These are in no order, except I will list my own favourites first. In my experience, if seeking out stories about characters over forty, your best bet on screen is TV rather than film. Breaking Bad, The Sopranos, Big Love, Greenleaf, Succession and Chernobyl are all prestige shows starring people over forty. Older British TV series also sometimes feature characters in their mid-years and beyond: Fawlty Towers, To The Manor Born and House of Cards.
Then there are TV shows like Six Feet Under and Friday Night Lights which give their older characters developed stories of their own. Nashville is specifically about a younger star rising up to replace the established middle age country music veteran. There’s an increasing number of TV detectives who are over the age of 40. One recent example is Mare of Easttown. These detectives balance their work lives with complicated family situations.
The idea that the glut of bad blockbusters is the result of “audience preference” is neoliberal nonsense. One of the main mechanisms of capitalism is eliminating competition and then figuring out exactly how crappy you can make something before people stop buying it.
Olive Kittridge isn’t a movie. It’s a four part miniseries based on the best-selling novels by Elizabeth Strout. However, if you binge watch it all at once, it works like a super long movie. Olive Kitteridge is a bristly character but highly relatable if you’ve hit middle age and find you have less patience for bullshit and pointless ceremony these days. Frances McDormand is perfectly cast, as is everyone else. Olive Kitteridge follows Olive into her old age, where she must face the particular challenges that come with looking your own mortality down the barrel of a gun.
Lonesome Dove (1989)
I’m a big fan of the novel series. Although Larry McMurtry’s 1985 novel Lonesome Dove was adapted for screen in the late 1980s, it’s still great. The old cowboys have come to their end of their lives and are craving another adventure, this time driving cattle from Texas up to Montana, where they believe they will make a fortune and live out the rest of their lives in comfort.
Terms of Endearment (1983)
Terms of Endearment is also based on a Larry McMurtry novel, this one from his Houston series. This story is definitely the best of that series, and focuses as much on the mother as her adult daughter.
The World’s Fastest Indian (2005)
Starring Anthony Hopkins. I have a soft spot for this film, being a Kiwi myself. Anthony Hopkins gets the accent absolutely right. Few New Zealanders themselves could manage an authentic Southland accent.
This is a 2005 New Zealand biographical sports drama based on the Invercargill, New Zealand, speed bike racer Burt Munro.
Munro rode a highly modified 1920 Indian Scout motorcycle. Munro set numerous land speed records for motorcycles with engines less than 1,000 cc at the Bonneville Salt Flats in Utah in the late 1950s and into the 1960s. This film follows his trip to America, where he is a fish out of water.
Away From Her (2006)
Based on “The Bear Came Over The Mountain” by Alice Munro. The snowy landscape really sticks in my mind after watching this. Few films show what it’s really like to live with snow that settles. (That isn’t even what the film is about.)
Because it comes from Alice Munro, you can trust the story will be expansive and nuanced.
August: Osage County (2013)
There is nothing cheerful about this story, nor cosy. The setting is somewhat similar to that in Terms of Endearment, but this is a harrowing story about a family. The plot will sound familiar to everyone: Adults who’ve made their own lives in the cities return to their small hometown to deal with a family crisis.
The masterful thing about this story, clearly originally written for stage, is how the reveals are done. The first reveal is only a reveal for the characters because the audience has been let in on it first. The second reveal will surprise the audience. Then, when you think there can be no more reveals, there’s one more right at the end.
This is my favourite film starring Meryl Streep. The audience is right there alongside Meryl Streep’s nun as she deals with a terrible moral dilemma: Does she trust her gut instinct about the new priest, even though she has no firm evidence against him?
All Is Lost (2013)
Robert Redford. out on a sinking yacht/lifeboat by himself in the middle of the ocean, next to zero dialogue. I’ve seen a few ‘man stuck alone on a sinking boat’ films and this one has the pacing and tension just right. However, you won’t get me on a boat.
Secrets and Lies (1996)
I’m a fan of Mike Leigh, and more so the older I get. I did enjoy Secrets and Lies when it was fairly new (I was in my late teens) and it’s still good. It felt new to watch a film about working class people. I’d previously only really seen working class people in soaps such as Coronation Street, which is not realistic.
All Or Nothing (2002)
Another by Mike Leigh. The story of a marriage, again starring working class middle-aged people.
Vera Drake (2004)
Also by Mike Leigh. A shocking reminder of what society looks like when abortion is illegal. The cheerful disposition of the main character juxtaposes terribly against the setting, and the predicament she ends up in.
The Wife (2017)
Starring Glenn Close, based on the novel by Meg Wolitzer. The less you know about this story going in, the better.
The Wrestler (2008)
Starring Mickey Rourke, this is one of the few films which Australia’s Margaret and David both gave five out of five stars to.
Anyone who is getting old enough to find their body isn’t working as well as it used to will relate to this film, though it is very sad.
Can you imagine a universe where one flew over the cuckoo’s nest was the second highest grossing film of the year?? I Have to Believe we can go back as a culture to people making and watching Grown Up Media on that scale.