The Week of Streep (p.5)

Ok, so I realize that I kinda dropped the ball on this whole Week of Streep idea, but I invented it, so I can make up my own rules where a week is actually more like a week and a half.

(once again, all photos from the incomparable SimplyStreep)

1995: The Bridges of Madison County

Bridges is one of my top five Streep movies, and that isn't a distinction to be taken lightly. She is completely and totally devastating as the Italian-Iowan housewife, Francesca Johnson. Every move she makes — from a subtle shudder at a slamming screen door, to a stolen glance of sexy out-of-town photographer Robert Kincaid (Clint Eastwood) — is perfection. Her accent is also (surprise!) spot-on, and she is nearly unrecognizable and convincingly Italian in appearance. You can feel her longing, smell her desire and touch her confusion and her passion in every moment she's on screen.

The scenes that take place in the present day, and focus on Francesca's grown children, are unnecessary in every way and really drag down an otherwise beautiful story. The movie makes complete sense (and is much better) without them; do yourself a favor and keep one finger near the fast-forward button at all times.

1996: Before and After

Unfortunately, after the near perfection of Bridges, Streep had nowhere to go but down. In fact, very, very far down.

Before and After, by all respects, should have been a great movie. It had a solid cast (Liam Neeson, Ed Furlong, and of course, Streep) and a pretty interesting premise (possible murder! mistaken identity!). Instead, Before and After has the dubious distinction of being the worst overall Streep movie, and — as much as this pains me to type —Streep delivers a less than stellar performance.

If I were referring to any other actor I might be more lenient, but this is Meryl-A-Dingo-Got-My-Baby-Streep. Maybe it's the brown hair (a hand-me-down from her Francesca Johnson days, no doubt) or maybe she was just not feeling the script, but whatever went wrong thankfully never happens again as Streep goes right back to being The Meryl Streep in her next film...

1996: Marvin's Room

Every time I re-watch Marvin's Room, I'm reminded just how great Meryl Streep is as Lee Lacker, the straight-talking, chain-smoking, cosmetologist student, single mother from Ohio — and I can tell you first hand that Streep absolutely nails it.

Just try not to laugh as she instructs her youngest (he's about 10) son to light a cigarette for her oldest (Leonardo DiCaprio who has recently burned down their house, and therefore can't be trusted with matches). Or try not to tear up as she styles the wig her sister (Diane Keaton, who's un-make-upped face is a tad frightening at times) is forced to wear after chemo treatments.

Side note: Marvin's Room marks the third time Streep has starred with her real-life friend Robert DeNiro, and he's quite hilarious as the bumbling Dr. Wally.

1997: ...First Do No Harm

Streep returns to the small screen in ...First Do No Harm, based on a true story of a family's struggle with their son's severe epilepsy. Streep is convincing as the boy's long-suffering mother, Lori Reimueller, and dives into the role from her mom hair cut down to her mom jeans.

This isn't by any means a must-see film in the Streep catalog, but the subject matter is certainly important, and the supporting cast (why hello, Fred Ward where have you been hiding since Silkwood?) is more than adequate.

1998: Dancing at Lughnasa

Dancing at Lughnasa is one of the Streep's most obscure films, and certainly one of the hardest to spell. Streep puts on her thickest Irish brogue to play one of the Mundy sisters, in a small role that required her to step dance as well age herself quite significantly.

It's a quiet film; in an interview Streep once said something like, "I'm not quite sure how to explain it without making you never want to go see it..." and I agree. So I will only say that it is indeed worth tracking down (I bought my copy at the now-defunct Tower Records).

1998: One True Thing

In more than two decades of screen time, and having faced every imaginable enemy — from the Nazis to the Dingoes — Streep tackles the big C(ancer) for the first time in One True Thing, based on the Anna Quindlen weeper of the same name. She stars alongside Renee Zellweger (who happens to be one of my very least favorite actresses) and the stoic William Hurt as Katherine Gulden, the strong-willed mother (to the former) and long-suffering wife (of the latter).

By now, Streep certainly knows how to bring the tears and emotions — and neither are in short supply here; be sure to keep those tissues within reach.