The t in listen to often drops in fast speech.
Jesus, listen to this.Manhattan · 1979 — 第 20 / 23 章 · 2'08" · C1
Isaac reads his ex-wife's memoir aloud and finds himself described in print, including an explicit account of their marriage and a list of his worst qualities. He goes to confront her, saying he came to strangle her, and she answers that nothing she wrote was untrue. The argument turns on whether he meant to run her lover over.
Isaac and his friends read his ex-wife's new book and discover that it describes their marriage in detail, including their sex life and a damning summary of his character. He goes to her apartment, says he came to strangle her, and she answers that every word is true. Their fight then narrows to one question: whether he deliberately hit the gas when her lover walked in front of the car.
注目の表現
charadenauseatinggiven tomisanthropy
このシーンの表現
refuse to accept
The memoir says Isaac wanted to be an artist but balked at the sacrifices, which stings.
She balked at the price.
a pretence
disgusting
prone to
dislike of humankind
obsessed with oneself
36 行のセリフに 26 件のメモ
The t in listen to often drops in fast speech.
Jesus, listen to this.made me see
"Making love to this deeper, more masterful female made me realise what an empty experience, what a bizarre charade sex with my husband was."such an empty experience
"Making love to this deeper, more masterful female made me realise what an empty experience, what a bizarre charade sex with my husband was."exclamatory clause: The what-clause turns a judgment into an exclamation inside the sentence.
"Making love to this deeper, more masterful female made me realise what an empty experience, what a bizarre charade sex with my husband was."have sex with
Is this true? Did you make love with Jill and a woman?be a poor sport
Christ! She wanted to, I think. I didn't wanna be a bad sport.jeez — A casual exclamation; avoid it in formal or devout company.
Christ! She wanted to, I think. I didn't wanna be a bad sport.want to — Spoken shorthand for want to; too casual for writing.
Christ! She wanted to, I think. I didn't wanna be a bad sport.hit with a car
Did you hear the one where he tried to run her lover over?whose team are you on
- Oh, yeah. - Whose side are you on?sudden rages
Listen. "He was given to fits of rage,sexism
Jewish, liberal paranoia, male chauvinism, self-righteous misanthropy, and nihilistic moods of despair."gripes about
"He had complaints about life, but never solutions."refuse to accept
The memoir says Isaac wanted to be an artist but balked at the sacrifices, which stings.
"He longed to be an artist, but balked at the necessary sacrifices."non-defining relative clause: The which-clause adds a comment rather than identifying, set off by a comma.
of his fear of death which he elevated to tragic heights when, in fact, it was mere narcissism."Came here to runs together with a reduced here.
- I came here to strangle you. - Nothing I wrote was untrue.portray someone as
You make me out to be Lee Harvey Oswald!obsessed with oneself
Isaac protests the word narcissistic, and the answer swaps in self-obsessed without softening it.
- That I'm narcissistic? - You're self-obsessed.write nonsense
- You let her write that garbage? - Wait. This is between you two.nonsense — A harsh dismissal; avoid it about someone's work to their face.
- You let her write that garbage? - Wait. This is between you two.step on the accelerator
You just happened to hit the gas as I walked in front of the car.time clause: The as-clause lines up two events at once, which is what makes the sarcasm work.
You just happened to hit the gas as I walked in front of the car.deliberately
The whole fight turns on whether Isaac hit the gas on purpose, then Freud gets dragged in.
- Did I do it on purpose? - Well, what would Freud say?Do it on links into one blurred phrase.
- Did I do it on purpose? - Well, what would Freud say?have work to do
Listen, I'm going upstairs. I got work to do.interest in
I've had some interest in this book for a movie sale.The memoir scene is a comedy about the difference between having a self and having a self-image. Isaac can laugh at other people's pretensions, but he cannot survive being summed up in print: "He had complaints about life, but never solutions." His ex-wife has done exactly what he does to everyone else, and she has done it better, in full sentences, for money. The argument moves from the sex he does not want described to the character he does not want examined, and every comeback he has only proves her case. Even his defence is an accusation, that she has made him out to be an assassin. Her calm answer, that nothing she wrote was untrue, is the whole verdict. She is not trying to hurt him; she simply stopped editing him.
"He had complaints about life, but never solutions."The memoir's line about him: he is full of grievances and empty of answers, which is precisely the charge he cannot refute.
"He longed to be an artist, but balked at the necessary sacrifices."The sharper version: he wanted the artist's life without paying its price, and the phrasing makes the excuse impossible.
That I really wanted to run her over. That's why he was a genius.His joke about the Freudian reading: if the unconscious wanted the car to hit her, then the accident was not an accident.
You cry when you see Gone With The Wind.Her one nice line about him: he cries at a sentimental movie, which is offered as a redeeming detail and lands as mockery.
It describes their marriage in detail, including their sex life, and sums up his character as full of complaints, self-righteous, misanthropic, and narcissistic. He objects to both the content and the fact that it is in print.
He insists it was raining and the car lurched, while she points out that he happened to hit the gas exactly as the man walked in front of the car. The scene leaves the question open.
He is furious about the book and says he came to strangle her. In practice, he wants her to admit the portrait is unfair, and she refuses, saying nothing she wrote was untrue.
It means refusing to accept the costs something requires. The memoir uses it to say Isaac wanted to be an artist but would not pay the price, which is the accusation that stings most.
Isaac learns that the book has attracted interest from a film studio, which means the private details he hates will be made even more public. It is the final blow in the scene.
次のチャプター · 第 21 章have it outMary Tells Isaac She Loves Yale
第 1 章have the nerve toThe Drowning Question at Dinner
第 2 章getting out of handIsaac and Yale Talk About an Affair
第 3 章get carried awayIsaac Sends Tracy Home
第 4 章overratedIsaac and Mary Argue About Art
第 5 章a sucker forIsaac Quits the TV Show
第 6 章far from the actionIsaac Cries Poor at the Benefit
第 7 章right on the moneyIsaac and Mary Meet Again
第 8 章basket caseIsaac and Mary Walk by the River
第 9 章break up a marriageYale and Mary Meet at Bloomingdale's
第 10 章wind upIsaac and Mary Walk in the Rain
第 11 章at my fingertipsIsaac and Mary Talk in the Rain
第 12 章the toast of the townIsaac Tells Tracy to Go to London
第 13 章a no-win situationMary Ends It With Yale
第 14 章make a commitmentIsaac Breaks Up in Tracy's New Flat
第 15 章wasting myself on someoneMary Visits Isaac Late at Night
第 16 章right up your alleyThey Push Isaac to Call Mary
第 17 章hung up onIsaac Finally Kisses Mary
第 18 章in the same ballparkIsaac Tells Tracy About Someone Else
第 19 章a sucker forIsaac and Mary Run Into Her Ex
再生中 · 第 20 章balk atIsaac Confronts His Ex-Wife's Memoir
第 21 章have it outMary Tells Isaac She Loves Yale
第 22 章get your story straightIsaac Confronts Yale in Class
第 23 章look the other wayWhy Is Life Worth Living?