Eine demanzipierte Frau

David Hare's brilliant stage play has been translated beautifully to the screen. The peculiar English trait of natural melancholy radiates throughout this sad exercise of seeing all through the lens of British class consciousness, repression and despair. The color photography, the performances, the stifling framing of the widescreen shots all add to the oppressive beauty of a story about the self-destruction of a preternaturally beautiful woman. Mery Streep has never been better before or since. Hare makes her intellectual acuity a weapon against herself as she sees through all the ghastly pretenses of a corroding Empire. No insight, no beauty of body, no letting go of formality and pretense can save her from herself. Feminism itself is taken to the burning stake as Streep's character thrashes, Hedda Gabbler like, against walls and prohibitions beyond her understanding. Rarely has such condemnation looked so ravishing.

"Plenty" is a film I watch as often as other people watch "It's A Wonderful Life" or the first "Terminator", yes, I know, I must be a very strange guy. I was a teenager when I saw "Plenty" on stage at the National Theater in London. I remembered the play vividly, Kate Nelligan's performance was sensational. Fred Schepsi's "Plenty" has a totally unique life of its own. We're allowed into Susan's mind and Susan has Meryl Streep's face. Her performance makes her character's intellect visible, cinematic. Intimidating, fascinating, extraordinarily beautiful performance. I think David Hare has written here one of the best female characters I've ever seen and Meryl Streep strips it of every pretense. She can lie even to herself but not to us. It is mesmerizing at times. A ping pong ball going through the character's brain as she listens. Alone, so alone in the world. She never expresses it with words although she, I think, is totally aware of it. The infuriating sense of being incapable to adapt, to belong. Wanting and not wanting. Mesmerizing! As if this wasn't enough, Tracey Ullman, Charles Dance, Sting, Ian McKellen and John Gielgud giving, perhaps one of the best film performances during the final part of of his life I felt rather lonely in my love for this film until I started reading some of the comments posted here and realized I wasn't all alone in the world. Nice to meet you all.

This is a film where you can get lost, wonderfully lost. Following Susan, the character created on the page by David Hare and on the screen by Meryl Streep, is a journey of gloriously unexpected ups and downs. It may be because the amazing Meryl Streep goes trough the analytic intellect of David Hare with her heart on her sleeve and I felt shattered and moved by the access she provided me into the heart and soul of her own personal labyrinth. To look back with regret and feel that memories of fleeting moments of extraordinary beauty can keep you going and see you through whatever hell fate seems determined to throw your way. Meryl Streep never looked this beautiful and the transparency of her missteps are a magic sweep of the most enthralling kind. Irrationaly sane. Like most of the great bipolar. They know, they've seen through. There is nothing ahead only behind and now it's too bloody late. The stages of Susan's journey, to the after war lands of plenty are framed by her own geniality - the character's and the actress's - Susan is overwhelmed by her own awareness, lonelier and lonelier, Meryl overwhelm us with her own sublime generosity. Fred Schepsi, the extraordinary man at the helm, keeps the puzzle open and clear. Like most works of art, not everyone will be ready to open up to this experience. Pretty frustrating let me tell you. I would love to share this experience with everyone.

In "Plenty" (***1/2). Meryl Streep gives one of her greatest performances in the complex role of "Susan Traherne", an idealistic young Englishwoman whose compulsive need to stir things up comes in conflict with a crippling lack of courage. We follow her life from her days in the French Resistance at the end of World War II to her professional and emotional decline during the 60's. Her key line: "I want to change the world, but I don't know how." The supporting cast, production and direction are superb, and the score by Bruce Smeaton is hauntingly beautiful. The character functions as both a metaphor for postwar England and a real flesh and blood human being, although it's a flaw that we don't learn more about her family background, apparently an upper class one, which might have contributed more to an understanding of her later, often perverse, behavior. The only two people she seems to have in the world are Charles Dance, playing her long-suffering diplomat husband and Tracy Ullmann, wonderful as her free-spirited best friend, probably the kind of person Susan would like to have been if it were not for her "fatal weakness": she likes "losing control." This film has been newly released in its original Panavision dimension on DVD and looks terrific. Seeing it the way it should be seen only enhances my opinion that it's one of the most underrated movies of the 80's.

I was moved by this film. I was aware of Kate Nelligan's performance as Susan Traherne in the original stage version, a lusty, glowing former Resistance heroine with a shattered psyche. In the film, Meryl Streep focused on a beautiful, disarming character's inconsistent control of the crazy energy lurking underneath.

Plenty could be re-released today on a double bill with the recently released Brothers. Both show the long-term effects of war, fought overtly and covertly, on combatants and those who love them. It is no secret that the soldier in Brothers wreaks havoc on his family after returning from one tour of duty too many in Iraq. "People with PTSD have persistent frightening thoughts and memories of their ordeal and feel emotionally numb, especially with people they were once close to."

So, one way to view and appreciate Susan Traherne and her effect on her husband, friends and co-workers is from this perspective within the context of their cultures.