Word: streep
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...than let it leap to a pat moral position. As Joanna undergoes cross-examination at the custody trial, her virtues ever so slowly reappear. Because she has now regained her selfesteem, she seems better able than before to be a good mother to her child. The sudden pull of Streep's performance confuses loyalties even 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...
...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's resolution, one which some will...
...silent suffering of Meryl Streep...
...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...