I think perhaps every 20 years is sufficient for a film of this disturbing nature. The reason to revisit it is to see the glorius performance of Meryl Streep, going from rising leading lady to superstar with a film that was as shattering in 1982 as it is in 2020. It is a film that when I first saw it had me shaking, and knowing the shocking twists, doesn't necessarily have the same impact even though the subject matter is horrifyingly disturbing.
The story is seen Through The Eyes of writer Peter MacNichol, a young Southern man who comes to Brooklyn in the late 1940s and finds himself as neighbors with Streep and her troubled boyfriend, Kevin Kline. When he first sees them, they are having a horrible fight, and MacNichol must comfort her. Later on, Klein apologizes and they begin spending a lot of time together. Rivera friendship, McNichol learns the horrifying truth about both of them, and they are secrets that most people eyes are do not realize about themselves or are too horrified to even confide to their best friends about.
One of the issues with the film is its structure, hopping about with flashbacks here and there and having slope points that are often difficult to withstand. But the meat of the drama is where it is at, and deleting characters are truly Disturbed individuals that in spite of their flaws are sympathetic even if troubled beyond cure. Kline, in his film debut, is a revelation, and as the secrets come out about him, it is easy to understand his character's sudden shifts in temperament.
But the revelation here is Streep who in a short period of only four years went from featured actress to Leading Lady the previous year and with this a legend-in-the-making. Her character will have you grow as you learn everything about Sophie. Her makeup is here is to, as at times it doesn't even appear that you are looking at the marvelous Meryl. Someone has to suffer when a part among such greatness, and as much as he tries, MacNichol just seems out of place. He does what he needs to do to make the character tick, but his is a non-showy part, just a Greek chorus looking in on tragic people facing their final curtain.
One thing that will stick with you if you watch this again after a long gap, and that is how potently subtle the musical score by Marvin Hamlisch is. As the camera moves In for the final shot, you realize how perfect it is for that mood, a somber and chilling moment that you won't forget, just as you won't forget the scene where Sophie must make that choice that no parent should ever have to be forced to make. Bravo to Alan J. Pakula for his brilliant screenplay and fantastic direction that truly makes this a nearly unforgettable film.
The story is seen Through The Eyes of writer Peter MacNichol, a young Southern man who comes to Brooklyn in the late 1940s and finds himself as neighbors with Streep and her troubled boyfriend, Kevin Kline. When he first sees them, they are having a horrible fight, and MacNichol must comfort her. Later on, Klein apologizes and they begin spending a lot of time together. Rivera friendship, McNichol learns the horrifying truth about both of them, and they are secrets that most people eyes are do not realize about themselves or are too horrified to even confide to their best friends about.
One of the issues with the film is its structure, hopping about with flashbacks here and there and having slope points that are often difficult to withstand. But the meat of the drama is where it is at, and deleting characters are truly Disturbed individuals that in spite of their flaws are sympathetic even if troubled beyond cure. Kline, in his film debut, is a revelation, and as the secrets come out about him, it is easy to understand his character's sudden shifts in temperament.
But the revelation here is Streep who in a short period of only four years went from featured actress to Leading Lady the previous year and with this a legend-in-the-making. Her character will have you grow as you learn everything about Sophie. Her makeup is here is to, as at times it doesn't even appear that you are looking at the marvelous Meryl. Someone has to suffer when a part among such greatness, and as much as he tries, MacNichol just seems out of place. He does what he needs to do to make the character tick, but his is a non-showy part, just a Greek chorus looking in on tragic people facing their final curtain.
One thing that will stick with you if you watch this again after a long gap, and that is how potently subtle the musical score by Marvin Hamlisch is. As the camera moves In for the final shot, you realize how perfect it is for that mood, a somber and chilling moment that you won't forget, just as you won't forget the scene where Sophie must make that choice that no parent should ever have to be forced to make. Bravo to Alan J. Pakula for his brilliant screenplay and fantastic direction that truly makes this a nearly unforgettable film.