Word: facings
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Dates: during 1970-1979
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...capture the nuances of Ted's constantly shifting moods, Hoffman gives a performance of nearly infinite shading. Angry and bitter at the outset, his face pasty with panic, he gradually interjects notes of tenderness and compassion into his role. Ted's new values develop so delicately as to be almost invisible until a scene in which g he reassures his son that the child is not to blame for his mother's departure. Sitting at Billy's bedside, Ted explains that "Mommy left because I made her try to be a certain kind of wife...
...audience, as well as Joanna, Ted and Margaret, to decide who has really won. The ambiguity lingers to the final frame of the film. Like the first shot, the last one is a close-up of Streep-only now she seems even more distressed than before. Her face dissolves from one contradictory emotion to another in such disturbing succession that she reopens all the wounds and conflicts of the drama. The moment is powerful enough to nearly obliterate the film's resolution, one which some will find...
Meryl Streep could obviously have made it to the screen on looks alone. Says Director Michael Cimino, who worked with her on The Deer Hunter: "The camera embraces her." Lucky camera. Many women would kill for her slender, fashion-model figure, for that ash-blond hair, oval face, porcelain skin and those high, exquisite cheekbones. Her eyes mirror intelligence; their pale blue sparkle demands a new adjective: merulean. Only a slight bump down the plane of her long, patrician nose redeems her profile from perfection...
...more than just another gorgeous face. The typical Hollywood starlet may think that August Strindberg is a hot new agent, but Streep played Miss Julie at Vassar. Beginning her professional stage career in New York only four years ago, she conquered prized roles in Shakespeare (Measure for Measure, Henry V, The Taming of the Shrew), Chekhov (The Cherry Orchard) and Brecht-Weill (Happy End), as well as in works by Arthur Miller and Tennessee Williams. This repertory training came to Meryl because she was ready for it; her education went on in public, but critics and audiences did the learning...
Despite her theatrical training, there is nothing stagy about Streep's performance in Kramer vs. Kramer. Emotions play across her face as subtly as breezes ruffling a pond; rarely have the varieties of anguish and uncertainty been so thoroughly catalogued through look and gesture. Streep's understated suffering rescues the character of Joanna Kramer from a virtually no-win plot: bad enough that a mother should leave her young child and then disappear from the film for nearly an hour; worse still that she come back and try to break up the new life that her husband...