Marg Du ffield (Lee R emick) is the Maine wife o f Al (Jos eph Somme r) whose da ughter Peg (M arlee Matlin) is deaf. P eg& #39;s husba nd is k illed in a car accident o n the way to visit th e Maine house , and the Duff ield&#3 9;s take in Peg& amp;#39 ;s six year o ld daughte r, Lisa, whi le Peg rec overs. Si nce Lisa is a s peaking ch ild, Ma rg think s of her the way she w anted P eg to be , and s eeks gua rdian custody. Remick&#3 9;s role i s secondary to Matlin&am p;#39;s , though s he is presen ted as a tragic figure, particularly as Al ref uses to help her pl an to g ain Lisa. Peg& amp;#39 ;s deafnes s is sa id to be from a childh ood case of sp inal menin gitis, and the telep lay by L ouisa Burn s-Bisogno, with story by Loui sa and Tom Bisogno, reduces R emick to a textbook mother who is self-hating from guilt a nd there fore cannot love her own da ughter. In a memo rable sce ne, Peg angri ly signs h er exit to Marg , since M arg has refused to learn sign language, tho ugh Peg ha s learne d to speak for her mothe r. The treatment uses the Ten nesee W illiams p lay, The Glass M enagerie, fo r therapy, to help Peg ov ercome her grie f and also Marg `lose her un icorn hor n' and embrace her d aughter . Whilst Pe g choosing to act in this pl ay may seem a n odd ch oice for so meone grie ving, what is more notica ble is that M atlin is far too more glam ourous to be believab le as Laura. The Bisogno& amp;#39;s include M ichael O 'Keefe as Dan, P eg's deceased husb and& #39;s best fri end and director of Acto rs Theatr e for the Deaf, to offer Peg a new romantic interest, and thankf ully she rebukes his protestation s of lo ve. Although his opinio n may be influen ced by his `crush &#39 ;, Dan tells P eg that bei ng differ ent is better t han being normal, since the normal ones are as `common as weeds' . This phil osophy r eads as rat her Nietz schean, on the level of artists not being re stricted t o the co mmon moral code. Direct or Kare n Arthur eit her has those s igning also sp eaking or those signing being tr anslated for th e audienc e, thoug h in one scene the sound of l apping wav es drowns out the dia logue betw een Dan a nd Peg. She also gives Ma tlin some good moments, on e being her scream of hor ror when she hears th e news of the deat h of he r husband , and a nother when she chases Remick down a flight of step s, hitting her .Marg Duffield (Lee Remick) is the Maine wife of Al (Joseph Sommer) whose daughter Peg (Marlee Matlin) is deaf. Peg's husband is killed in a car accident on the way to visit the Maine house, and the Duffield's take in Peg's six year old daughter, Lisa, while Peg recovers. Since Lisa is a speaking child, Marg thinks of her the way she wanted Peg to be, and seeks guardian custody. Remick's role is secondary to Matlin's, though she is presented as a tragic figure, particularly as Al refuses to help her plan to gain Lisa. Peg's deafness is said to be from a childhood case of spinal meningitis, and the teleplay by Louisa Burns-Bisogno, with story by Louisa and Tom Bisogno, reduces Remick to a textbook mother who is self-hating from guilt and therefore cannot love her own daughter. In a memorable scene, Peg angrily signs her exit to Marg, since Marg has refused to learn sign language, though Peg has learned to speak for her mother. The treatment uses the Tennesee Williams play, The Glass Menagerie, for therapy, to help Peg overcome her grief and also Marg `lose her unicorn horn' and embrace her daughter. Whilst Peg choosing to act in this play may seem an odd choice for someone grieving, what is more noticable is that Matlin is far too more glamourous to be believable as Laura. The Bisogno's include Michael O'Keefe as Dan, Peg's deceased husband's best friend and director of Actors Theatre for the Deaf, to offer Peg a new romantic interest, and thankfully she rebukes his protestations of love. Although his opinion may be influenced by his `crush', Dan tells Peg that being different is better than being normal, since the normal ones are as `common as weeds'. This philosophy reads as rather Nietzschean, on the level of artists not being restricted to the common moral code. Director Karen Arthur either has those signing also speaking or those signing being translated for the audience, though in one scene the sound of lapping waves drowns out the dialogue between Dan and Peg. She also gives Matlin some good moments, one being her scream of horror when she hears the news of the death of her husband, and another when she chases Remick down a flight of steps, hitting her.详情