Word: lastly
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Dates: during 1970-1979
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...Edwardian era, which lasted from 1901 to 1914, was the last great age of the society portrait in Europe-"great" not in artistic merit but in the large expectations that people had of portraiture as a form. For us, that appeal has largely vanished: artists like Munch, Kirchner and Giacometti have taught us to expect anything but social ease and confident display from the human head. The social portrait seems exhausted now, a cultural irrelevance. This fall has brought two exhibitions by American artists that underline the demise by recalling portraiture's vanished glories and suggesting its dubious status...
...Edwardians recede from us, curiosity about their now remote era grows, and now-fortunately, as it turns out-we have a Sargent retrospective. Organized by Art Historians James Lomax, Richard Ormond and Nancy Rivard, it was seen in England during the spring and summer of 1979, and opened last month in Detroit...
...further. As Joanna gives her own account of her marriage and her efforts to recover from it, Streep painfully sheds layer after layer of the character's past. In a few minutes, she creates an entire life onscreen: the loving bride, the defeated, self-loathing wife and, at last, an independent woman. It is a devastating film-within-a-film-one that rocks not only the audience but also the ex-husband, who watches in the courtroom...
...torn by both on the witness stand. After the judge has delivered his verdict, it is still difficult for the 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...
...last two movies, Straight Time and Agatha, Hoffman had bitter rights with the studio, First Artists, over the script and editing. In Kramer vs. Kramer, he made certain that he would be involved from the beginning. To find the right boy to play his son, he sat in on a hundred or more casting sessions, then did video tapes with 40 finalists before choosing Justin Henry. Together with Benton and Producer Stanley Jaffe, he worked and worried for months over the character of Kramer, trying to get him exactly right. "I've never seen anybody come to the party...