Word: suzanna
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Dates: during 1980-1989
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...Suzanna Nemes...
...decade since her last one--because this performance is such a revelation. The depth Redgrave gives her character makes every move convincing, as when Jean risks making a similar "mistake" by letting another stranger into her life, this time a girl named Karen with whom Morgan had become obsessed. Suzanna Hamilton plays this variably vacant, furious, and wise creature with uncanny control. The police officer (Stuart Wilson) gets the best lines in Wetherby as consolation for losing his girlfriend to her ex-husband ("He's an awful man...the kind that keeps sheep.") "Peripheral" characters get their...
...THIS END, John Hurt, as Winston, is also marvelous. Previously John Merrick in The Elephant Man and the fool in Olivier's King Lear, Hurt is the archetypal common man, his face a veritable roadmap of toil and suffering. His love scenes with the fresh-faced Suzanna Hamilton (Julia) are as tenderly pathetic as the tiny, dilapitated room in which they take place. He is dwarfed by a huge video screen as he sits hunched and writes in his diary, an action that seems both puny and heroic. Throughout the film, Hurt never loses that peculiar combination of hope...
...THIS END, John Hurt, as Winston, is also marvelous. Previously John Merrick in The Elephant Manand the fool in Olivier's King Lear. Hurt is the archetypal common man, his face a veritable roadmap of toil and suffering. His love scenes with the fresh-faced Suzanna Hamilton (Julia) are as tenderly pathetic as the tiny, dilapitated room in which they take place. He is dwarfed by a huge video screen as he sits hunched and writes in his diary, an action that seems both puny and heroic. Throughout the film, Hurt never loses that peculiar combination of hope and fatalistic...
John Hurt, for example, plays Winston as if he were suffering the last stages of consumption; repellent in his grayness and enervation, Hurt is oddly compelling too. As Julia, Suzanna Hamilton plays her harshly lighted love scenes with a nakedness, both physical and emotional, that is astonishing in its neediness. By making the romance more explicit, Radford gives it a pathos and a symbolic weight that are, if anything, more affecting than in the novel. Finally, the late Richard Burton as O'Brien, the couple's betrayer and interrogator, gives a last performance that is all silky corruption, perfumed malice...