Meryl Streep Believes There Is a Bad Performance In Her Career, And We Are Right

If we think of an actress who represents interpretive perfection in modern cinema, surely the first name that comes to mind is that of Meryl Streep (with forgiveness from Amy Adams and Cate Blanchett). Unique in modern Hollywood history, this woman is capable of transmitting candor with a single glance or let us be captivated by her scenes with those subtle gestures that characterize her so much. Those that only she knows how to do, delicate and feminine, that carry as much emotion as seduction (that cause us tension with just stroking the door of the van in Madison’s bridges). And although his filmography seems impolute at first sight, it is not perfect. She herself resents a particular character that she would like to repeat again. And no, she is not the witch of the infumable Into the woods (musical that more than one would like to erase from our memory). Meryl would like to return time back to make again the film that earned her first Oscar nomination for best leading actress (she already had two nominations – won one of them – as a secondary). We are talking about The French Lieutenant’s Woman (1981), that drama based on John Fowles’ 1969 novel where she and Jeremy Irons brought two characters to life in parallel: a couple united by lust and public humiliation in England Victorian and actors mired in a secret affair who portrayed those characters in a movie in the 1980s. Many will remember that this movie was a classic early in her career, the first leading job for her and Jeremy Irons. Meryl received all kinds of awards and praise for this performance back then. It was the beginning of the 80s and had already been crowned as the spoiled girl of Hollywood. She had achieved glory with supporting roles that stole all the prominence over the men who accompanied her. As was the case in The Hunter (1978) along with Robert DeNiro, winner of the Oscar for best film for which she obtained her first nomination for best supporting actress, winning it the following year for Kramer against Kramer (that classic with Dustin Hoffman that works today wonderfully as a feature film complementary to Netflix’s success, Story of a Marriage), as she herself confessed in several interviews, as she did in 2016 on one of her visits to the Graham Norton program. They asked her if there is any action of hers that did not satisfy her, and her answer was yes. At first she did not want to say what it was until she confessed that she would love to redo the 1981 drama. According to her, the reason that made her disagree was “the structure” of the story because it was “somewhat artificial”. “And I was the actress who played ‘The French Lieutenant’s Woman’ and at the same time I was the American actress playing a British woman.” “I listen to myself now and … I was young and new in this. I don’t feel so satisfied. I didn’t feel like I was living it. The truth is that you always want to do better after it is over, “he said. So, in the viewer’s eyes, are you right in harboring disagreement with this performance? You are right. You are absolutely right. Meryl has spoiled us with her masterful interpretations and her amazing chameleonic talent, and in that production, that talent was hidden in that discomfort to which she refers. I have seen the film again to write this anecdote, and indeed she has reason to reject this trace of his past. That he has received nominations and applause is anecdotal when compared with the rest of his films. Although the theme of The French Lieutenant’s Woman has managed to stay current and continues to be interesting, the interpretive style adopted by its actors expired a long time ago. The performances of all those involved are worthy of a melodrama from previous decades. Passionate kisses delivered with brutality, from those of the cinema of the 30s or 40s where they barely touched their lips but shook their heads and arms with exaggeration. Trembling physical reactions to give physical expression to passion, exaggerated melodramatic gestures and screams. Lots of screams.Read more However, I wouldn’t blame Meryl Streep. Watching the film again we can see that the entire cast repeats that acting style, which leads me to suspect -or blame- director Karel Reisz. For those who do not remember, The French Lieutenant’s Woman was a drama between Victorian and modern who talked about the humiliation behind lust at different times. First, through a woman sunk in self-imposed and public shame after having had an affair with a foreigner being single in the year 1867. She has the scarlet letter engraved on her gait and her gaze, and is the laughingstock of the town for her Melancholy always watching the sea. In his life comes a man committed to another, who approaches with empathy worried about her, to begin to feel an attraction that is born from looks and curiosity. In this film there is a scene that was recorded in the history of the cinema: that of Meryl turning around to look at Irons with an innocently seductive look full of pain and need, with the mist of the wave in the middle of the two. We see two actors who shoot a film about this same story while living an extramarital affair, passionate and united by the secret they maintain. In the Victorian era, shame haunted them to the point of separating and joining them several times. In the 80s, remorse is virtually non-existent. The film is not bad in itself. Not at all. Aesthetically it is elegant, beautiful and reflects a story with social criticism included on the role of women and their freedom at different times; on the ease with which he was judged for adultery or his need for survival through prostitution, but the drama embodied in the performances is a direct brother of Gone with the Wind (1939). And it really is unusual to see Meryl giving herself like that to the character, throwing herself to the ground in dramatic moments, showing weakness for public shame … Her Victorian version is supposed to be that of a mysterious woman, who keeps unknown lies and secrets even for the viewer At times he succeeds, and the melodramatic touch accentuates that deceptive facet. But sometimes it is unbearable to see. Meryl Streep has a perfectionist spirit and it shows with just observing his filmography, but in these beginnings, that insecurity before a paper that took her out of her comfort zone was reflected on the screen. And many may not know, but Meryl had to take daily classes with a vocal coach to develop an English accent for the first time (and it is fatal) and spent three months in the British country before filming to practice the accent Victorian (which was useless since it is non-existent in the film). That is to say, she prepared hard but the result was not up to the task. Meryl took the role when the author of the novel saw her in The Hunter (1978) and Kramer against Kramer (1979), although she had to compete against Gemma Jones , Helen Mirren and Francesca Annis (Mirren was the initial choice of the author of the novel previously). In the case of the male character, Jeremy Irons debuted his first leading role with this production, although the role may have been for Robert Redford and Richard Chamberlain. (Mark J. Terrill; Gtres) More Those who have read the 1969 novel know that they do not It has a plot divided into two like the movie, but it does have three alternative endings for the viewer to choose from. By creating a parallel story through the affair between the actors playing the Victorian characters, the film repeated the same idea with two endings. The good news is that Meryl will not have a good memory of that romantic drama (and neither did I after seeing it. again), but he was soon able to compensate himself. The applause and the Academy (with 5 nominations!) Did not realize that the French lieutenant’s wife would not overcome the passage of time with the same mastery as the vast majority of her interpretations, and could quickly resume her strength. In 1982 he released Sophie’s decision (182), winning his first Oscar as the protagonist, followed by Silkwood (1983) and Memories of Africa (1985). One gem after another. He currently holds the record for the actor with the most Oscar nominations with a total of 21 (17 as lead actress and 4 as supporting actress), winning it three times. But that is not all. He has the same record at the Golden Globes with 32 nominations between film and series.More stories that may interest you:

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