He is also deeply conflicted in his allegiances. Faith is an unwitting charmer and very smart. Noticeably crazed, he pours gasoline throughout the home and sets it on fire. She is emotional yet manages to say that she does everything around the house and that there is no one to listen to her when she needs attention. Kimberly goes online to research , a bottle of which she has found among her father's belongings.
On the review aggregation website , the episode holds a 75% approval rating with an average rating of 6. And at the very start of the film, Joe worries out loud that he may kill one of his sisters. Relief occurs when a care worker arrives, a man in his 20s, who takes Joe with him for some time out. This ultimately makes for a less interesting film than it ought to be; there's something here, but Karsh never quites get to the real core of the story, because he never ferrets out just what makes Susan Tom tick. Tom and her special family are the subject of My Flesh and Blood, a documentary which examines the dynamic of this household, as well as the often demanding physical and emotional needs of the 11 kids and the heavy emotional burden Tom must sometimes carry as she looks after children who may not survive to adulthood. And we're not talking about two or three kids.
I'm a borderline hypochondriac as it is; My Flesh and Blood had my mind reeling with the possibilities of some awful diseases I didn't even know existed. She calls her aunt for help with the intent of leaving the home, but can't due to her agoraphobia. It just sags and dries out like, well, an overcooked turkey. We see her among her friends at school and with a boy she has a crush on. In one scene she is looking at pictures of available men on the Internet. Kimberly is able to grab the box cutter and free herself. Discovering that it is an anesthetic and sedative, she becomes more convinced that her father is a killer.
She calls the police officers, who instruct her to leave the home, but she cannot. She is disarmingly direct, however. She feels confident in me to do a good job. Only minutes before she arrives, Joe explodes at a teasing remark from Faith. The Propofol kicks in, however, and he is temporarily knocked out. How does she cope with the madness this creates -- and believe me, director Jonathan Karsh captures the madness in all its horrors -- on a daily basis? It's simple: Susan is a saint.
As tremendous as it is to see Susan Tom manage so well with the extraordinary burdens of her family, it is reasonable to wonder if a household of growing and adolescent children might benefit by the commitment of more than one adult where one of them is not one of the children, as in the case of Margaret. When watching a television news report about a recently abducted teen girl, Kimberly notices that the charm on the gifted necklace looks identical to the one the missing girl is wearing. While the director, Jonathan Karsh, has found a great subject and presented it with sympathy, he fails to bring to the subject enough of his own vision and understanding. I think she used the children to fill the void of loneliness. Yet, they were badly mistreated at the beginning of the movie, so it's hard not to retain some sympathy for them. The officers leave the home, but before they do, one of them gives Kimberly her card.
With Joe it is often terribly difficult to know just what is going on. He has structured his film around the seasons and has gracefully interleaved home movie footage with his own. Released in 1922, Flesh and Blood came just five years after the 1917 Immigration Act that actually prohibited immigration by Asians. Overall, what makes Flesh and Blood original is the fact that it doesn't romanticize the past. Outside perspectives, however, do not take us far enough. Susan observes with painful irony that she would not wish his condition on anyone, but that were it not for his condition, she would not know him.
The overall effect is that we are drawn into this film with great sympathy. Susan and Joe's doctors know that his death is imminent, but, as is common with terminally ill kids, withholds the prognosis from Joe who seems to believe that he will live to be an adult. She is a capable and strong woman who, on the whole, knows what she is about. Next time your boss is being a jerk, take a look at My Flesh and Blood. He has given us an intimate portrait complete with turmoil, humour, and sadness. We see him in the living room doing a breathing treatment, to loosen the phlegm in his lungs. What I should have done differently was to have told them I loved them, which I never did.
Once upon a time, John Kerkhoven was one of her English Literature students. She not only has to make arrangements for her kids when they are in hospital, she has to bear the strain of it as well. In both these films, Herzog presents and portrays his subjects both intimately on their own terms and at the same time with detachment. For one thing, it's very difficult to say who the bad guys are. Problems of absent fathers, of controlling mothers, the complexities and demands of mother-daughter relationships, and of mother-son relationships — these are some of the issues both perennial and contemporary that are reflected in this film but only barely, if ever, addressed.