The oldsters start squabbling about whose memory is better. “It was cold that day,” one says about some faraway memory. “What are you talking about? It was May, late May,” says another. The young children sit wide-eyed, absorbing family lore and trying to piece together the plotline of the generations.
After the meal, there are piles of plates in the sink, squads of children conspiring mischievously in the basement. Groups of young parents huddle in a hallway, making plans. The old men nap on couches, waiting for dessert. It’s the extended family in all its tangled, loving, exhausting glory.
This particular family is the one depicted in Barry Levinson’s 1990 film, Avalon, based on his own childhood in Baltimore. Five brothers came to America from Eastern Europe around the time of World War I and built a wallpaper business. For a while they did everything together, like in the old country. But as the movie goes along, the extended family begins to split apart. Some members move to the suburbs for more privacy and space. One leaves for a job in a different state. The big blowup comes over something that seems trivial but isn’t: The eldest of the brothers arrives late to a Thanksgiving dinner to find that the family has begun the meal without him.
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