Months of Meryl: The Seduction of Joe Tynan (1979)
Thursday, January 25, 2018 at 12:00PM Hi, we’re John and Matt and, icymi, we are watching every single live-action film starring Streep.
#4 — Karen Traynor, a Southern political operative who has an affair with a popular senator.
JOHN: I can’t even imagine what it must have felt like to be an actressexual in 1979, the year when Meryl Streep catapulted herself from that interesting, up-and-coming actress of The Deer Hunter, the Holocaust miniseries (which brought her first Emmy win), and the New York theater scene, to first-class movie star, appearing in three successful films and winning her first Oscar for the year’s highest-grosser and Best Picture champ, Kramer vs. Kramer. But let’s not get too ahead of ourselves; buried in the middle of all this impressive acclaim is perhaps Streep’s least-known triumph of her early period: Jerry Schatzberg’s The Seduction of Joe Tynan.
This story of a liberal senator (Alan Alda, who also penned the script) struggling to balance political ambitions with family life, is a keen, sophisticated relic from a time when studio movies were risky, inspired, and targeted towards an adult audience, free of gimmicks or condescension. They were capable of making bank to boot.
In Joe Tynan, Streep plays Karen Traynor, a Louisiana lawyer who, while aiding Tynan’s campaign against a racist Supreme Court nominee (Remember when racism disqualified you from office?), begins a fling with Alda’s fast-rising political star...
Streep reportedly took this role as a distraction from the death of her lover John Cazale; production began just four weeks after the funeral. This circumstance lends, I think, an unexpected sadness to her performance, a melancholic undertow that underscores the frivolity of this brief affair. One of my favorite moments of her performance occurs when, after exchanging a first kiss with Joe in his office, Karen watches him take a call from his wife (the extraordinary Barbara Harris), and is subsequently reminded of her cursory status in Joe’s life. We see Streep, in close-up, play out the initial high of a new romance with the uncomfortable reminder of its impermanence.
Do you think of Karen as a melancholy character too, or am I reading too much into Streep’s own personal life? It’s not as if the performance is without that loose, relaxed, and undeniably comic sensibility that she excels at in so many of her “lighter” roles.
MATTHEW: Let me just say that what Streep does in those close-ups as Alda natters away on the phone is utterly hypnotic. Karen is wading through a sandstorm of emotions, from moony elation to sidelined discomfort, and watching Streep embark on this minutes-long emotional journey with the character is one of the first of Joe Tynan’s many acting pleasures. (Streep is excellent here, but I also cannot undersell the depths of feeling and peculiarity that Harris invests into her unusually rich Ambivalent Wife role; Harris was the National Society of Film Critics runner up for Best Supporting Actress of 1979, losing to Streep herself for all three of her 1979 films)
There is definitely a discernible sorrow to Streep’s performance that is perhaps best embodied in the indulgently extended, mid-film scene of Karen at home in Louisiana, one of the only moments in which we are allowed to witness Karen’s life away from Joe. We see Karen say a dispassionate, fleetingly-interested goodbye to her husband, who’s off to Milan on another business trip. She’s waiting for an overdue work call and is palpably startled when the phone finally does ring — and it’s Joe on the other line. As Streep lounges in her living room and traipses around her kitchen in the moments leading up to this call, her body is relaxed, but her immobile face tells an entirely different story. Streep wears a stony, almost aloof expression throughout the scene, but the heavy shifts of her pupils and the distracted slowness of her responses convey a painful, secretive uncertainty, telling a subtly conflicting story of a woman at peace in her own home, if utterly at sea in her own head.
Karen’s storyline points distinctively towards personal devastation, which is why I’m perhaps more surprised by the disarmingly comedic component of Streep’s performance, evident from her first moment on screen, as she lazes, alert and lynx-like, in Joe’s office during their first meeting, trading sneaky grins with her co-worker over Joe’s obvious impressionability. I see in Joe Tynan, more than in any of Streep’s other, earlier works, where those still-persistent Carole Lombard comparisons might have stemmed from, but with one key divergence. Lombard, maybe the Golden Age’s most genius comedienne, is best remembered for playing characters who were often larger-than-life, from the girlish, hyper-affectionate debutante of My Man Godfrey to the glamorous stage starlet of To Be or Not to Be. In Joe Tynan, Streep is unmistakably playing an everywoman, one who is nonetheless made so much more unique by the giddy, casual effervescence of Streep’s approach. She shines, laughing with breezy abandon and preserving a lusty twinkle in her eye during so many of her adultery scenes with Alda, evoking what Lombard might have looked like in one of Eric Rohmer’s romantic roundelays. She fully distinguishes Karen from The Deer Hunter’s fragile Linda and Manhattan’s ice-armored Jill, and looks like she’s having a ball while doing so. What do you make of Streep’s balancing act?
JOHN: I’ve never wanted to be anywhere more than I want to be strolling around with Karen alone in her Louisiana home, preferably also in a bathrobe and rocking my gorgeous blonde locks. What most impresses me about Streep’s Karen, is her uncanny ability to modulate disparate feelings through tiny pinches and tremors in that angular, effervescent face. The fact that we both discussed her comic chops and lovelorn despair with equally substantial descriptions is a testament to Streep’s already incredible knack for cohesively mixing humor and sadness within a single character. Karen is presented first as adoring fan (“I think you’re the most exciting figure in the country today,” she blushes to Alda without irony), segues into professional bigwig, sexy flirt, frolicking mistress, and finally ambivalent cheat, and somehow all these roles coalesce. It’s not until after the film ends — I again have to mention Harris’ sublime final close-up — that you realize how much detail Streep has threaded throughout her performance. Karen is neither a scheming seductress, using Senator Tynan, as she easily could, to leverage her own career, nor a reckless Other Woman foil to Harris’ gloomy housewife, nor plainly functional cog in the script’s larger focus on Joe’s political dilemmas.
In Streep’s hands, a supporting character is, yet again, imbued with life beyond the page (even when, in this instance, what’s written on the page is quite worthy of her talents), and brought to a complete whole, tied together with her singularly effortless charm. This performance makes it abundantly clear that Streep contains multitudes, and yet Karen’s emotional spectrum is purely specific to this character. It isn’t hard to imagine Streep, then just 30 years old, lending some welcome allure and complexity to Paul Mazursky’s An Unmarried Woman or taking a swing at an Annie Hall-like vehicle where she gets the chance to fully flex her enticing complexity. Actors have skillsets, toolboxes, techniques, plump scripts, costumes to cloak and prosthetics to cover, yet few have ever possessed the mesmerizingly uncomplicated charisma of Meryl Streep. When she’s onscreen, I don’t want to watch anyone else in any other movie, and this gem of a film treats us devotees to a delicious treat.
Here’s yet two more moments to savor: Karen gleefully pouring champagne on Joe’s crotch as they lounge postcoitally in some motel room and, later in a similar motel room, Karen taking a pivotal call from Joe and making the decision to jump ship and stay behind as he headlines the nominating convention. These clips should be in every career-highlight reel. Did we miss any?
MATTHEW: I think you covered the highlights, any one of which deserves to be in those frequent Streep retrospective packages, but is never included. I would go as far to say that this is perhaps the finest Streep performance that too few people have actually seen. She takes what could have been a standard Happy Homewrecker part and gets the audience on her side, not exactly rooting for her but willing to withhold any damning judgment and actually empathize with her pain, a rarity in plots like these. And she does this not by clobbering us over the head with kindness, but by acknowledging every thorny area of Karen’s character and communicating them through a smiling but rueful persona. She presents a complete modern woman, not shorn of complexities but defined by them. And when these complexities rise to the surface, disrupting the sly equanimity of this underrated political comedy, their manifestations can hardly be forgotten. This came at the tail-end of arguably one of the very best decades of American actressing, but, as Joe Tynan and next week’s milestone film prove, we can at least give thanks that Streep arrived just in the knick of time.
What say you, reader? How many of you have actually seen the notoriously hard-to-find Seduction of Joe Tynan? If you have, where does Streep’s work in it fall for you within the larger scope of her career?
Reader Comments (46)
Please show some mercy and cancel this series. Too much Meryl everywhere. Give us a window of time to breath before the MammaMia/MaryPoppins/BBL shitstorm begins.
I remember seeing it in the 1990s, and thinking it was very good and that she was great in it. My memory of it is hazy (wish it was available to watch again), but as far as I recall, it would be, at a minimum, in the top 3rd of her filmography for me.
Tonya -- or we can turn ourselves into agents and find her a play on Broadway and a talk show to host so we can basically never discuss any other actress again.
I'm still trying to find the film with no luck
Barbara Harris should have won the Oscar. She's just fantastic. And that final scene. Damn.
Subtle and sublime. Wonderful accent.
Very difficult movie to find- had a VHS copy but then opted for DVD option on Amazon - which really is just a transfer-
Tynan’s daughter overacts a bit for my taste. Harris is fine but Streep just seems to be operating on a different level or technique here that sets the stage for other to look up to and revere later on.
Love the series! Could not come at a better time.
Wow, imagine seeing An Unmarried Woman and thinking "Gee, Meryl Streep would've been great in that."
Very few people even know Jill Clayburgh's name. Retroactively recasting her best role with Meryl Streep is, um...a bit much.
I've never seen this film and am inspired now to seek it out! Plus, Matthew and John are good writers, so I'm following along with this series happily.
I'm old enough to remember watching "Holocaust" on TV in the 70s—and I remember the impact Meryl made in that series.I got hooked on her then and have followed her closely ever since. This series is a fascinating revisitation for me. Sorry, haters. I grew up with Meryl and remain fascinated by her despite eventual overexposure and uneven recent work.
This film was on Netflix Instant for awhile years ago, but unfortunately, it was before I was a regular user, and I missed the Instant Watch window. I keep hoping they'll bring it back.
If they cancelled this series, what would Meryl's detractors do with themselves? (Bring her up in comments on posts unrelated to Meryl, of course.)
Please keep this series. If people don't want to read about Meryl, they don't have to.
Streep is truly extraordinary in this - even more compelling, I would argue, than in KRAMER VS. KRAMER. Terrific film too.
And yes, Harris deserved a nomination too.
I know that this series is about Meryl, but thanks for giving Barbara Harris her due. Although I haven't seen this particular film, Harris has given an amazing performance in everything I've ever seen her in (Nashville, even Freaky Friday!). It's a shame she's not better known today.
Biggs -- i too love love love Barbara Harris. But I've never seen this one. I would love to fill in this gap in my 1979 knowledge.
Everyone -- one Meryl Streep article a week isn't going to kill you. It was just a lot of Meryl this week due to the Oscar nomination, the Big Little Lies news, and this regular series. A lot of people live to read about her / follow her every move. Cry uncle like me and give in :)
Jerry Schatzberg is not discussed enough...I caught Puzzle of a Downfall Child on Youtube one time and it was breathtaking. Why have these movies not gotten the Criterion treatment?
Bia, I have been trying to find that one. His film Scarecrow is one the best of the 70s.
I have never seen this one and vaguely thought it was "just okay." With this review, I really want to see it out now, though not sure where I'd find it.
And yes, I love Barbara Harris too though I really only recall Nashville (fantastic), Family Plot (fuzzy movie, but she was winning), and...?
I think Meryl haters have now hit a new low by attacking our dear writers at TFE for all their hard work and passion just because they don't wish to see any more write-ups of her.
Dave, she's wonderful in Plaza Suite, A Thousand Cowns, and the aforementioned Freaky Friday. Also she's an Oscar nominee for Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me?
What I remember most about this film was how happy Alan Alda and Meryl Streep seemed to be. Top of the world, top of their profession, everything going their way, loving their profession. That's kind of sweet to see.
You know how it is with It Girls in their moment. Some people love them unconditionally in everything; some people are looking to their future, analyzing their strengths. With this film, people were thinking Streep's strength was more in drama than comedy.
There was some scoffing that Alda chose a much younger Thinking Person's It Girl for his love interest.
There was also skepticism that Alda was too self-congratulatory, and some of that bled over onto Streep.
Outside of the Alda-Streep "aren't we delightful" scenes, Streep had a mini showcase of moments displaying her acting skills. But Barbara Harris was the one who came across as a real person, contrasting with Alda, the giddy multi-hyphenate, and Streep the Actress.
I think I would agree that this is probably the best film she's made that is underknown. And perhaps the best performance.
She is quite wonderful in it and I enjoyed the critique of her work. Both Alan Alda and Melvyn Douglas contribute excellent performances as well but for me the draw and standout is Barbara Harris. She does so, so much with her role finding a great deal of depth that might not have even been on the page. If I had my way I'd take Meryl's Oscar for Kramer vs. Kramer-excellent though she was-and hand it to Harris.
The film is sharp and incisive and it's a real pity and a head scratcher why it is so hard to find. It's when you look at forgotten or at least little remembered gems such as this that I'm enjoying this series the most.
brookesboy -- it's on youtube from time to time...and then goes down. But sadly, the DVD is only available in Region 2. I'm hopeful it will make its way back to America one day.
“THAT’S....BUTCH!”
And please keep on with this wonderful series. I look forward to it each Thursday!
The movie is on DVD... I bought it on Amazon
I am a Meryl Streep fan and this series is well-written and insightful. I have not seen this film but will now look for it. Keep up the good work!
This series is great, like film school. It’s interesting with artists, how you look at their work later and realize they were all doing great work. Alan Alda Barbara Harris Streep most cast all excellent (except child actor only because that comment made me laugh)
The movie was on HBO Go quite recently. Check there for availability. I flagged it some weeks back but haven’t watched it yet.
I saw this film back on VHS and put it in the category of "under-appreciated". Streep in this role reminds me a little of her role in "Heartburn". This is not "Big Acting" - it's a combination of smaller moments. Great series - ignore the haters, thank you for doing this.
Tonya - You could just simply not read it! How about that? There are some of us who happen to like Streep and enjoy reading this series.
Yes I have no doubt that there was some scoffing that Alda chose a much younger It girl to play his love interest They were 13 years apart Meryl was 29 and Alda r42 I myself was 22 years old when the film was being edited You may right about Alda-Streep "aren't we delightful" scenes
The choice of who played the senator and the southern lawyer plays into that
I am one of those scoffers where Alda chose a much younger It Girl to star as his love interest\
There was a 13 year age difference whereas I was 22 years old then that is why
Alda was perhaps too self congratulatory might speak to his big ego that some say he has
The character of Joe Tynan was too full of himself because he got the jobs bill passed because he had clout and not because it was important for the same reason plus the affair itself \
they have affair because they can
As I said the character of Joe Tynan was too full of himself declaring he had the clout of the passage of the jobs bill I may add the character of Ellie is nobody's fool but some political wives usually do either divorce or turn the other way on such and we all who but she didn't
Joe Tynan was carrying that behavior all thru the affair Karen was a willing participant
Many legions of female fans of Alan Alda probably watched this film because the actor that many people would not like him
If he was too self-congratulatory then I believe some say he has a big ego it was seen
by the same in writing for MASH
On the age difference that Streep and Alda had Hollywood likes that older men are paired with much younger women in films and some may/december marriages
Barbara Harris performance was great especially in the last scene which was a moral victory for
all wives with cheating husbands She deserved an oscar it was a "real" performsnce
Despite what I think about the story or the characters people enjoy two people not married to
each other having an affair the flirting and the subsequent disrobing and nude scenes
why keep them from it?
Despite what I think about the story or the characters people enjoy two people not married to
each other having an affair the flirting and the subsequent disrobing and nude scenes
why keep them from it?
The wife (Barbara Harris has the tougher role house, children, money \
The mistress has the easy falling in love sleeping with the husband *(Married to Ellie)
the mistress doesn't have to deal with the day to day things
The wife (Barbara Harris has the tougher role house, children, money \
The mistress has the easy falling in love sleeping with the husband *(Married to Ellie)
the mistress doesn't have to deal with the day to day things
This film was mire concerned with two characters Joe Tynan and Karen Traynor bedding down
(Ha Ha Fifty shades of politics) but in this film especially in the end scenes where Karen says (after Joe says his daughter has hepatitis) I've heard it all before suggests she has had more than one affair or if Joe may have had or after theirs more than one affair even though he asks his wife to give him another chance a tough choice
This film was more concerned with two characters Joe Tynan and Karen Traynor bedding down
(Ha Ha Fifty shades of politics) but in this film especially in the end scenes where Karen says (after Joe says his daughter has hepatitis) I've heard it all before suggests she has had more than one affair or if Joe may have had or after theirs more than one affair even though he asks his wife to give him another chance a tough choice
It would have been interesting if it was written that the wife had decided to walk iout
on him (which she almost decided or did she?
The choice of a thinking it girl for his love interest was not just any ordinary actress
or that the character of Joe Tynan was not going to fall in love with any ordinary woman
either.
I still like Barbara Harris and should have won an oscar
Has anyone notices the food used in this film Rip Torn's character making gumbo
Joe Tynan and Karen Traynor in bed eating food and washing it down (later pouring on his nether region) These are the analogies that are talked are about between food and sex
The film about that Supreme Court Nominee saying that in his heart he did noit believe in integration was in another blog said it was fake suppose it was a a set-up by somebody
one of Joe's enemies
I saw this in the theater when it was released; I have perhaps seen it once or twice in the years since. I remember the goodbye scene at the airport, and thinking that it simply was not possible for an actor to convey so much emotion across her face in what seemed like a split second of screen time. She took my breath away in that split second, and though she has done it many times, before Joe Tynan and since, that moment has never left me.
Barbara Harris earned the second billing because she starred in a 1966 play Apple Tree with
Alan Alda
emotion across Meryl Streep's character's face was due to her own sadness over
the death of John Casale as well other moments of melancholy
The reason that I was one of the scoffers at the age difference between Alda and Streep
was that in family an age difference of more than five years was frowned upon and that the young woman Blanche Baker who portrayed his daughter in the film is my age 21 at the time of the film
Barbara Harris character was more of a real person
The film about a racist statement made by the Supreme Court nominee was according to
a rewind blog was fake
I don't think it is their first rodeo for the two characters Joe Tynan and Karen Traynor'as suggested by karen's statement on the phone that she had heard it all before
I do believe both have had affairs before