Fowler-Shanahan Kristine Fowler, daughter of Joan I. Fowler of Saugus and the late Earle J. Fowler, was recently married to Michael A. Shanahan, son of William Shanahan of Bridgewater and the late Dolores Shanahan. The wedding ceremony was held at St....

Dorotea Jimenez liked weddings until she died. She died at one in fact. Not wanting to cause any unpleasantness, she did it only after the bride and groom and most of the others had left the church. When the wedding was over, she...

ON CHESIL BEACHBy Ian McEwan Nan A. Talese/Doubleday, 208 pages, $22 As far as I can tell, there’s not a single weak sentence in Ian McEwan’s On Chesil Beach. O.K., it’s a very short novel and we’re cruising familiar territory—love gone wrong—but I still think...

ERICA: "The new wedding birds are really cute...or what about an American flag? That would be patriotic!" Uhm, yes it would be patriotic, kind yet clueless lady behind the counter in the post office, but "patriotic" is not an adjective that brides usually throw...

Doubling the number of featured players in Nashville from twenty-four to forty-eight while shrinking the time scale from three days to one, A Wedding offers an extension rather than an expansion of Robert Altman's behavioral repertory. Variations on the same dirty little secrets, social embarrassments, and isolating self-absorptions that illustrate his last ten movies are trotted out once again—articulated as gags or tragicomic mash notes, molded into actors' bits, arranged in complemen...

In all his recent films, including A Wedding, Robert Altman has made the kind of satire that delivers a big, round-house right to the whole society. Only a director capable of great economy as a story-teller—Orson Welles is another—can do satire on this epic scale. Just as Welles was able in Citizen Kane to describe the entire course of a marriage in a few snippets of conversation at the breakfast table, so Altman can neatly create the personalities of a half dozen characters at a time. Both d...

[The burden of A Wedding, Altman's] very black and very funny new movie is to make us laugh at our romantic, sentimental, pretentious absurdity. We are, in the Altman canon, certainly the oddest creatures on the face of the earth, and he looks at us with astonishment, as if surprised to discover that an animal so ill-equipped for living has managed to get by for so long. One of our chief drawbacks is the yawning abyss between what we think of ourselves and what we are, and it is into this abyss, with...