No Telling

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If the setup sounds grim, the telling isn't. Holland writes with breezy elegance and a sly wit.

And she manages to marry the perspective of a child with the perceptiveness of an adult. Department store designers walk around with "naked mannequins slung over their shoulders like the Sabine women. Luckily, Holland had three saviors: her socialist grandmother; books; and finally, thank goodness, a friend. Then suddenly Gloria disappears.

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A life-threatening attack of rheumatic fever means isolation from her friend. They never see each other again. Holland describes that and other events that led to the erasure of "my whole previous self" with jolting simplicity: "For three years we had lived as one person with scarcely a separate thought, and then she was gone, like a moth flittering out of my hand.

At about the same time my family moved to Florida. Holland is left behind, with her grandmother. It is here that her memory fragments.

There's No Telling | Idioms Online

Was I stupefied by what's now called depression, or simply by adolescence? The black holes -- those she can't avoid and those she purposely creates -- are knit into the fabric of her story. They suggest the borders of her rebelliousness; the wounds that still ache; the people she wants to protect.

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But they also disappoint. What of her family's move south? What of Gloria? What of the belated, paragraph-long appearance of a trusted grown-up she couldn't avoid even after he clumsily tried to molest her? This is also when Holland's breezy style starts to sound a bit disingenuous.

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After all, more than a "few people" remember the era's ominous mushroom clouds; and surely Holland had other career goals aside from remaining "unimportant" and "underpaid. In the final pages, Holland fleetingly mentions her subsequent descent into a haze of feckless boyfriends, pregnancies and despair before finding another, unlikely savior at Hecht's department store.

Fessenden draws a very thin line between the evil he portrays and the humor and irony of his characterizations… provokes a visceral response. At its roots a thriller if not an outright horror film, NO TELLING is also a drama with social purpose, namely a defense of animal rights and, more generally, the environment. Though occasionally stilted and preachy, this very watchable entry makes the most of a shoestrill budget, delivering its message with meaning, honesty and jolting, purposeful gore.

Top Link. Which may be why, even today, viewers could miss the blatent romantiscism with which Fessenden re-inscribes classic horror conventions, commenting on everything from the clash and collusion of science and art to the beauty and horror of creation filmic and otherwise to the sadness of ephemeral love. Fessenden draws a very thin line between the evil he portrays and the humor and irony of his characterizations … provokes a visceral response. Since its U. We stray from the genre by having Geoffrey do nothing that is illegal, or necessarily immoral. His wife is aware and supportive of his work, in the way that all of us, being the lay-public, are aware of the basic methods of science and assume that the goal of science is to better mankind.

Only when Lillian feels personally rejected by Geoffrey does she begin to question his work. Only when illness strikes the farmer in the film does he veer from chemical farming. Only when we are touched personally by environmental calamity does environmentalism become an issue to us.

go here The horror then, is when the acceptable and the every-day turn against us. When what we have supported and believed in becomes abhorrent to us. No Telling is a portrait of the scientific process, which like any other human endeavor, is clouded by competitiveness, ambition, eagerness and waste. But the same blundering trial and error rhythms that lead to discovery in other creative fields—like the arts for example—are performed by the vivisector on live animals, and this is a compelling moral problem.

Still, most of us feel unqualified to comment on scientific issues. The essentially powerless position that the public places itself in on matters of science relates to the inability of the animal who is being experimented on to protest.

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We are all willing guinea pigs. The climax of the story challenges audiences to confront their own complacencies, both in relationships, and in the broader questions of ethics and responsibility in scientific exploration. No Telling is not science fiction. His quest for a method to suppress the immune system and allow the transplanting of limbs and organs is a common goal among transplant researchers.

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  7. We chose these experiments because they are basically sanctioned by the public. I wanted the absence of a real villain to make the film more disturbing, because it points the finger right back at us, the audience. He has collaborated with Fessenden on a number of projects, co-writing and co-producing the album Sentimental War in as well as a number of underground tapes, among them American Nursing Home and Cold Hearts and Whiskey