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Its embodiment is Grace’s grandfather, who raised Grace from childhood after the early death (from heart disease) of his daughter, Grace’s mother, and her abandonment by her father.

(At least I am assuming that he is Grace’s maternal grandfather; I suppose if he is, instead, paternal, that different situation imposed its own burden of guilt.) It is refreshing to be immersed in all the film’s Catholic aura and banter, for instance, the after-hours debates among Grandfather and his peers, including his brother-in-law cook, as to whether Bing Crosby or Dean Martin is the better crooner—quarrels, the film implies, that are regularly repeated because they can never be objectively resolved.

The deep fog of mutual ignorance in which Bob and Grace’s embryonic relationship must sensitively grow requires that Bob not know about Grace’s medical past. Grace’s fear of discovery has nothing to do with Bob’s “finding her out” in relation to Elizabeth; it is restricted to her self-image, which the life-giving surgery has (very lightly now, a year later) mutilated, and her worry that her scar is somehow a mark of Cain.

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The only “priest” who appears throughout is an ex-priest, a blind date for Grace who, unused to his new status, arrives wearing a priest’s collar!

Except for the one point of dogmatic difficulty afflicting Grace, Catholicism is portrayed in this film in terms of culture and family atmosphere, not religion.

As much as I’d like to see Craig Ferguson get a shot, I’d rather CBS break the white male hegemony of late-night TV, and with someone who might be interested in reinventing all the talk show forms, from monologue to band to desk.

Chicago native Bonnie Hunt generally plays the same part as an actress, herself, and that’s OK with me; Hunt has a fine comic presence, warm, attractive and funny, and more than once she has given the best performance in a bad show.

With the news that David Letterman will retire next year, the narrative that has defined the late-night talk show wars for decades finally comes to a close: The mismanaged end of the Johnny Carson era of , a blundered hand-off with far-reaching, long-term, biz-changing ripple effects.

It immediately put CBS in the late-night business, seeded the (staggered) rises of Conan O’Brien, Jimmy Kimmel, and Jimmy Fallon, and settled and linked the legacies of Jay Leno (The Man Who Stole . ) and Letterman himself (The Man Who Should Have Been The Next Carson) long before the end of their runs.

Taking us through his life-changing, life-saving heart surgery drama of 2000.

Confessing to infidelities that made him vulnerable to an extortion attempt in 2009. I wouldn’t be surprised if Letterman invites Leno to be a guest during his goodbye week.

She did just that, for example, in (Cameron Crowe, 1996).

I have enjoyed Hunt’s TV sitcoms and her numerous Letterman appearances.

In addition, there is a film that Hunt co-wrote (with Don Lake) and directed—this was her directorial debut—and acted in, in a supporting role. It’s a modest film, a feel-good romantic comedy about two lonely, decent souls. Elizabeth is an organ donor who dies off-screen in (likely) a road accident and whose heart saves the life of Grace.

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