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Entries in Months of Meryl (52)

Friday
Feb162018

Months of Meryl: Still of the Night (1982)

Hi, we’re John and Matt and, icymi, we are watching every single live-action film starring Streep...

#7 — Brooke Reynolds, a Waspy urbanite and unlikely femme fatale with a shady past and a killer blonde bob.

MATTHEW: No actor, not even the oft-cited Greatest Actress of All Time, is immune to the inevitable and indisputable stinker. Seven projects in and just touching the surface of true-blue movie stardom, Meryl Streep finally made her first real turkey...

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Thursday
Feb082018

Months of Meryl: The French Lieutenant's Woman (1981)

Hi, we’re John and Matt and, icymi, we are watching every single live-action film starring Streep...

 #6 — Sarah Woodruff, an outcast of ill repute in Victorian England, and Anna, the philandering actress playing her...

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Thursday
Feb012018

Months of Meryl: Kramer vs. Kramer (1979)

Hi, we’re John and Matt and, icymi, we are watching every single live-action film starring Streep. Previously Julia, The Deer Hunter, Manhattan and The Seduction of Joe Tynan


 #5 — Joanna Kramer, a mother and divorcée embroiled in a messy custody battle.

It’s 1980. Kramer vs. Kramer is a critical and commercial smash (the top-grossing film released in 1979). The dawn of a new era approaches and one actress is anointed as its icon...

“The face is beautiful but anguished, haunted by sorrow, despair, determination and love. Can one face express all these warring emotions, with a grave dignity that adds a deeper beauty to the physical structure? Meryl's face can and does in the extraordinary first image of "Kramer vs. Kramer". This first shot of a superbly crafted film prints indelibly upon the eyes and consciousness of the audience the face of a young actress who, at 30, may become the strongest performer of her generation, first American woman since Jane Fonda to rival the power, versatility and impact of such male stars as Dustin Hoffman, Robert De Niro and Al Pacino...

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Thursday
Jan252018

Months of Meryl: The Seduction of Joe Tynan (1979)

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...

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Thursday
Jan182018

Months of Meryl: Manhattan (1979)

Hi, we’re John and Matt and, icymi, we are watching every single live-action film starring Streep.

#3 — Jill, our neurotic protagonist’s chilly lesbian ex.

MATTHEW: So, you’ve just played a chatterbox and a near-mute, the former defined by her gaucheness, the latter by her almost ethereal warmth. What role do you take on next? Why, an ice queen, of course!

The overarching worldview of Woody Allen’s beloved Manhattan is cruel, chaotic, and self-absorbed, even as its fleet, monochromatic presentation retains the smooth and deceptive romanticism of that rightfully-iconic opening montage...

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