Word: anna
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Dates: during 1980-1989
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...decisions were reached at the more recent meeting, except one to extend the deadline for the commission's recommendations from Oct. 7 of this year to next March 31. Most of the four-hour session was devoted to discussion of a leaden report by Anna Schwartz, coauthor with Economist Milton Friedman of a classical study of U.S. monetary history, on the American experience with the gold standard going back...
...proprieties. The contrast of Pinter's parallel stories preserves that envy, for the 19th-century drama features powerfully driven characters whose passions are strong enough to shred apart their lives. The story of the 20th century, on the other hand, concerns the off-hand affair between the two leads, Anna and Mike, during the shooting of the film--a cheap and superficial encounter. The present world is too comfortable, the emotions somehow counterfeit...
...said to have dallied with a visiting French officer--a scandalous reputation she encourages. Charles and Sarah fall into a curious kind of love. Their story is not merely a romance, but Romantic in the grand style. Pinter's second story shows Irons and Streep playing Mike and Anna, the two 20th-century leads having a back-stage affair...
...ties between the two stories work on several levels to hold the movie together. Horse-drawn carriages follow the same cobbled roads taken by Jaguars a scene earlier, a shot of supermodern trains of 1981 comes moments after a smoke-filled train station of 1867, Anna leaves for London just as Sarah flees Lyme Regis in mystery. In each story a successful man throws aside his calm, well-ordered life with its calm, well-ordered love (wife and kids in one, finance in the other) in order to reach out for the mystery and excitement of an uncatchable woman...
Streep's performance as the present-day Anna is adequate in its bitchiness, but as the Victorian Sarah the actress comes into her own. Where Anna is predictably modern, Sarah has a hint of madness. The transformation between the two is captured in one of the film's best moments. Mike and Anna are wearing everyday clothes in their hotel room, rehearsing a scene in which Smithson comes upon Sarah with her skirt caught in a bush. They talk it through once--and then Streep does it, standing up and walking toward Irons. The costume doesn't matter: her eyes...