Great Expectations

In ritual exile dismally fastened to permanently unaltered expressive decay, immutably unable to passively nurture piecemeal envisaged newfound exclamation. 

Abandoned on her festive wedding day while guests and relatives awkwardly attended, the resultant scourge cacophonous and shrill so ubiquitously disquieting she never recovered. 

But moderate remonstrance still boldly illuminated less morose pastures actively within, and a young jaunty lass was delicately instructed in the elegant ways of her former bearing.

But to be locked up away all alone with no one to play with throughout the day, lugubriously distressed the forsaken madame who freely set about discovering a friend.

The fortunate boy unaccustomed to sympathy and even less so to ceremonious eccentricity, fluidly fluctuated and instinctively managed to become a friendly playmate as time passed by.

The woebegone heiress still ideally immoveable as the young spirits mischievously opulently swayed, her house remaining lost atemporally defiant not one slight alteration since her wedding day.

No doubt an obsessive reaction stubbornly derelict and obtusely overwhelmed, still somewhat romantic in the execution of so much superfluous ornery extremity. 

She encourages the young girl to be cruel and even states she's free to break the lad's heart, an organ he'd no doubt freely part with should she see fit to impulsively crush it.

But wickedness aside they generally get on and playfully refuse to acrimoniously delegate, Miss Havisham in turn sinisterly supportive of their innocent fanciful nigh endeavours.

The house still doesn't alter and nothing is changed within, the lighthearted youthful imaginative symmetries still widely unable to facilitate thaw.

Even as they age and inevitably drift very far apart joy remains tightly bound, Pip still in love as he always has been, Estella still generally dismissive and bored. 

Miss Havisham still seems to like Pip even if she doesn't mind Estella's curt dismissals, and in the heavenly abridged yet stunning David Lean film she seems somewhat out of touch with her habitual irritation.

Imagine how much more could have indeed been creatively accomplished.

With a series of intricate films.

Challenging discursive conviviality.

Barefoot in the Park

A newlywed couple moves into their first apartment, freely intent on necessitously nest(l)ing.

Their dynamic is somewhat old school inasmuch as Corie (Jane Fonda) doesn't work, yet applies her industrious inclinations to recreation and home decor.

She excels at entertaining and embracing newfound pastimes, her open-minded inquisitive temperament wondrously courting jazzy vigour.

Mr. Bratter (Robert Redford) is a bit more cautious, much less improvisationally disposed, feeling safe within a steady paradigm wherein which everything fits trusted custom and precedent.

He's trying to advance his career or at least make a productive start of it, so he gets used to lively nights intermingling work and conjugal creation.

They live in a provocative building abounding with random curious character, one eccentric neighbour in particular full of vivacious lofty spirit (Charles Boyer as Victor Velasco). 

He invites them out on the town and Corie thinks he may make a good match for her mom (Mildred Natwick), the four of them heading out to a playful restaurant to sample tantalizing ethnic cuisine.

But Mr. Bratter proves less experimental than his enthusiastic wife anticipated, somewhat too sheltered by codes of conduct which don't permit enigmatic alternatives.

A dispute resultantly erupts back at home later on in the evening, which leads to passionate calls for divorce and general flustered mayhem.

It's an endearing amorous investigation of well-matched compassionate opposites, the congenial juxtaposition coaxing clash and conviviality. 

I usually love trying new things especially food from other countries, but I've found this can be just as off-putting as obstinate full-on unbridled dismissals.

I think it's because my traditional embrace of difference conflicts with gender based preconceptions equipped with historical complaint.

That is, it's more endearing to engage in standard arguments derived from habitual expectations, than to wholeheartedly agree on a course of action that doesn't involve varying degrees of intrigue.

I haven't had many relationships, but I've noticed that most people have been having them consistently throughout their lives, and that typical discussions regarding potential actions, are actually rooted in decades worth of stereotypical role play.

When Mr. Batter tries to move beyond his traditional role in Barefoot in the Park, the results are catastrophic, and since he lacks extemporaneous composure, distressing calamity sets in.

But they work things out and forge a consensus as rich with discord as it is cohesive.

A mischievous examination of married life.

Overflowing with constructive wherewithal.