Most kidnapping melodramas have final scenes — after their climaxes — that are, effectively, throwaways. There are sighs of relief, tearful reunions with families, cameras that dolly back on domestic tableaux to suggest the world has at last been righted.
I think it's telling that in Captain Phillips the most overwhelming scene is after the resolution, in the infirmary of a ship. So much terror and moral confusion has gone down — so much pain — that the cumulative tension can't be resolved by violence. The movie's grip remains strong even when it cuts to black.
"Her days were days of flesh." That's just one of a multitude of striking observations that Jill Lepore makes about Jane Franklin, the baby sister of Ben. What Lepore means by that line of near-poetry is that Jane Franklin's life, beginning at age 17 when she gave birth to the first of her 12 children, was one of nursing, lugging pails of night soil, butchering chickens, cooking and scrubbing.
On Three Chords and the Truth, bluegrass musician James King picks from the canon of country music to rearrange its songs as bluegrass. On The Bluegrass Album, country star Alan Jackson has recorded his first collection of bluegrass music — some classics, some originals.