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and their six childrenis soon to be enlarged by one. Twenty-year-old. Sharon \(Tina her parents, informs her father and mother that she is pregnant. She refuses to reveal the man responsible and to consider an abortion. The Snapper traces the effects of this revelation and of the eventual arrival of Sharon’s mewling pink snapper on the Curley clan, cludes in a freeze frame portrait of the Curleys that affirms the endurance of the family unit, even when babies lack legal fathers. Initially confused and distraught by news of his oldest child’s pregnancy, Dessie rallies to her support. He defends her against the scurrilous neighborhood gossip, and he scoundrel who took advantage of his daughter in a parking lot when both were soused. George is old enough to be Sharon’s father, as he is in fact the father of one of her best friends, but he is smitten by the younger woman. He leaves his wife and beseeches Sharon to go off with him to London and marry. Disgusted by George and determined to face her fate alone, Sharon refuses. Pace Dan Quayle, she joins the gravid sisterhood of Murphy Brown and Angie Scacciapensieri. Director Stephen Frears \(My Beautiful Launderette, Prick Up Your Ears,The immerses us in the pubs, markets and living rooms of Barrytown and orchestrates his drama with the cadences of the Irish capital’s working class. Unlike Angie, Sharon never visits a museum and certainly never lights out for the Lone Star State. Anchored in the emotional development of zesty Dessie, the solid pater familias whose paternity is enriched by his daughter’s pregnancy,The Snapper neither patronizes nor romanticizes its passionate proles. If the obstetric ward has now become a familiar stage set, it is in part because of a demographic bulge. The screen holds a mirror up to those of prime moviegoing age whose own bellies are swelling. Though neither offers evidence of the contemporary epidemic of babies having babies, both Angie andThe Snapper reflect an increase in births to women without husbands. In Leslie Harris’s Just Another Girl on the IRT, an underclass teenage black carelessly conceives, painfully miscarries, and callously discards the lifeless fetus. By contrast, Angie and Sharon are both old enough to know better, and both can count on emotional support, from their families and their directors, for unwed maternity. Concerned about how to break the news of Sharon’s new condition to her five other children, mother Kay Curley convention: “I think we should tell them it’s better to be married if you’re pregnant.” Yet, without glamorizing single motherhood, neither Angie nor The Snapper brands it illegitimate. No scarlet letter colors either film. If Robert De Niro had been cast as either Angie or Sharon, the zealous actor might have endeavored to induce his own pregnancy in order to represent the condition most effectively. Though neither Davis nor Kellegher has had a child, both rely on prosthetic makeup to simulate convincingly the stages of gestation. Both. Angie andThe Snapper engage their viewers in the inherent drama of human birthits terror, torment, absurdity, and glory. The spectacle of a tiny person’s entrance into the world is almost as compelling as an insolent outlaw’s brutal departure. CLASSIFIEDS ORGANIZATIONS WORK for single-payer National Health Care. Join GRAY PANTHERS, intergenerational advocates against ageism and for progressive policies promoting social and economicjustice. $20 individual, $35 family. 3710 Cedar, TEXAS AIDS NETWORK dedicated to improving HIV/AIDS policy and funding in Texas. Individdal ‘membership $25, P.O. 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EMPLOYMENT 22 MARCH 11, 1994 wew eew ..s ex. as rewelbee ,e1Kew ‘ e keete teer ie,-,