> REVIEW
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The Iron Lady (2012)
Never compromise…
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By Carol Vine | January 2012
DIRECTOR: Phyllida Lloyd
WRITER: Abi Morgan
In Phyllida Lloyd’s The Iron Lady, the portrayal of Margaret Thatcher as an inspirational figure, the underdog victorious, seems an odd decision given the controversy surrounding her time in office.
Meryl Streep’s performance is incredible and is far from a simple impersonation. But it lacks the unpleasant edge of obsession, adding an invisible “wink” at the end of all the power speeches and at any point where we’re in danger of disliking her, or her politics. Unlike Bruno Ganz’s extraordinary performance in Downfall – it’s unsettlingly easy in this film to separate the real Thatcher from the portrayal of her, which is almost entirely sympathetic.
And it is certainly a sympathetic piece. Even in the footage of the riots at the time of the miners’ strike, the slant seems to be towards Thatcher – a strong woman, pushing on regardless. Her tenacity is presented in abundance, but not whether her tenacity was right. In this sense it’s a one-sided portrayal. The “angry crowd” scenes are impersonal and detached, no one from the baying mob given an identity, or even humanised – it’s all through Thatcher’s perspective, who barely flinches as anonymous fists bash the outside of her car. Even the Falkland’s War sequence, though moving, is ultimately sanitised with a patriotic speech at the end.
Though the decision to present Thatcher’s dementia could be seen as a brave one, there are perhaps one too many “frail” and tender scenes with the imaginary Dennis. This portrayal of a brutal and frightening disease is infused with sentiment – the hallucinations are comforting, the result somewhat cosy, without any real sense of the horror and confusion that comes with remembering a loved one is dead.
In one scene, Dennis responds to Thatcher’s insistence on her call to “duty”, with an angry “it’s ambition that’s got you this far”, but that’s about as far as the duty/ambition question is addressed. The portrayal of her in power is one of a forceful, courageous woman, not of a belligerent, stubborn one. Hardness, cynicism and dogma are side-stepped, opting instead for a glossy “Best of British” feel, aided by a stirring and patriotic score. The sequence that shows her being “coached” into becoming more like a leader has a humour and tone that is entertaining to the extent that we forget where we are, and who we’re watching.
The film does not address Thatcher’s politics, a clear decision, and whereas it’s acceptable and interesting to depict an alternative aspect of a leader’s life, there is a bewildering sense in this instance, that it’s simply too soon. Just as she is still alive, perhaps there are also a few too many significant resentments towards her.
The Iron Lady is essentially a film, as expressed in the Hollywood-style trailer, about “one woman” rising up against the odds, her defiance of convention, her strength of will. What it is not about, or even touches upon, is consequence.
The danger here is that the sympathy begins to veer towards affection. There’s no question of the excellence of Streep’s performance, but the fundamental problem is that we warm to her (Streep). The story we get sucked into doesn’t seem to be Thatcher’s. It is the story of a mesmerising and brilliant performance, immaculate direction and a rock solid script.
The film has clear and shining merits as a production, including a faultless supporting cast, but it is not a film any left-winger will watch easily or comfortably. This isn’t because of who it’s about, but rather the handling of the story of a woman whose legacy is arguably too recent and too harmful to be broached with any sense of tact, or grace. Thatcher’s older self asks at one point in the film, “does any of it matter?” Yes, it does. To many, it still does.
Script…………………………………………………………………………………………….
Well structured and well written with many memorable lines, as expected from
Abi Morgan, but restricted by the limiting decisions of the portrayal. 3
Direction………………………………………………………………………………………..
Lloyd opts for a jaunty tone and a lightness of touch. With this in mind the
direction is near to flawless, but detaches, uneasily, from the subject matter. 4
Verdict…………………………………………………………………………………………..
A strangely timed, well-crafted film that delivers a two-dimensional and
affectionate take on one of the most controversial figures in recent British
history. Thatcher without politics. One’s own political leaning will probably
dictate how easy it is to digest. 2
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