Die Brücken am Fluss

Meryl Streep is absolutely astonishing. I forgot it was her ten seconds into the film. That opening breakfast scene where all of her story is written in her magnificent face. As an Italian I know there is no acting involved here. She IS Italian. She reminded me of Anna Magnani in "Bellissima" there is not a single false note. Clint Eastwood, clearly, dedicates the film to her and the results are pure magic. The film is based on an unreadable book- at least I couldn't get through it, in spite of the brevity of the volume - the film however, is bound to become a classic thanks to the powerful chemistry of the stars. If you love film,like I do, I recommend you to see it once and let yourself be taken away by the truths in Meryl's eyes then go again and take note. Look at every one of her moments, from how she closes the refrigerator door to her laughter. Look at her reaction when she discovers that Clint stopped at Bari, her home town, just because he thought the place was pretty. Look at her hands, her walk and then go back to her eyes. It's a treat of the first order. Clint, in front as well as behind the camera,does a miraculous job. I passionately recommend it, no matter how young you are.

The book on which this film is based is a very thin volume, thin in every department. As a matter of fact I gave up after a few pages. The film is something else entirely. Meryl Streep plays an Italian living in rural America and she is out of this world. Her opening scenes at the breakfast table are staggeringly beautiful, it could have been a silent movie, we would've understood and live Francesca's story just by looking into Meryl's beautiful face. Every laugh, every move, every nuance is so Italian and so real that I went to look up her background to see if there was some Italian blood in her. Apparently not, but she reminded me of Anna Magnani and of my mother - she's Italian too, so I should know. Clint Eastwood's performance is tender, powerful and generous. I started going to the movies in the 70's and part of the fascination was to go and see movies with adults doing adult things, behaving and reacting to life the way adults do. "Five Easy Pieces" "Coming Home" "Sophie's Choice" and then the old great old ones from "Sullivan's Travels" to "All About Eve" As a side note I should inform the decision makers that on my second visit to the theater I took five kids with me, two 17 year old boys and three girls, 18, 16 and 16. They went back to see it a few days later with some of their contemporaries. The comment of one of the boys was: "It made me think of things I don't usually think about". He invited his mom to the movies to see "Bridges of Madison County" According to his mother, that was the first time ever, but, as it happens, not the last.

On the page "The Bridges of Madison County" often read like a reject from Mills and Boon and yet it was tremendously popular. People who normally wouldn't read this sort of thing were not only reading it but quoting it. You could say that for some people it held the kind of camp appeal that bad books sometimes do for the so-called intelligentsia. Personally, I am inclined to think that its tale of middle-aged romance struck a cord. It may not have been well-written but many people recognized in its two central characters a reflection of themselves. It spoke of a great passion and a great loss; a "Brief Encounter" for the nineties. Still, it never quite seemed like a vehicle for Clint Eastwood; (once upon a time you might have envisaged Arthur Hiller doing it), yet here it is, larger than life on the big screen and utterly lovely, utterly heart-breaking.

Perhaps Eastwood chose to film it as a vehicle for himself. He wears the mantle of the ageing Lothario perfectly at an age when most romantic leads are played by much younger men, (or are simply non-existent), yet who blanched when Gary Cooper or Cary Grant were wooing Audrey Hepburn well into their old age. Admittedly Eastwood isn't entirely comfortable in this sort of role. He's not a versatile actor. His best performances have been as tortured losers or just old-fashioned tough guys but under his own direction he blossoms here. Of course, the 'romantic' in Eastwood has never been hard to find. You need look only to the scores he has composed. (He has written the main love theme here and his use of classic jazz standards by the likes of Dinah Washington and Johnny Hartman adds considerably to the film's beating heart).

What is remarkable is that essentially Eastwood's film is really something of a chamber piece for two players. A few other characters flit into the frame but for most of the time there is no one on screen but Eastwood and co-star Meryl Streep and this is one of Streep's great performances. As Francesca, the woman who finds in Eastwood's photographer Robert the one great passion in her life albeit briefly and at a time when the likelihood of such a thing happening was remote indeed, Streep is extraordinary. Sometimes Streep can overwhelm a project; her versatility doesn't always work in favour of lesser material. But here she seems to have tapped quite effortlessly, not just into the consciousness of her character, but into her very soul as well. And if that sounds cheesy, let me assure you it isn't. Cheesiness isn't in Streep's vocabulary, even if it is in mine! Perhaps Eastwood was able to discern in Robert James Waller's novel the seeds of a great love story or perhaps he just felt he could bring his artistry to bear on some unlikely source material. Whatever, it's paid off. On screen "The Bridges of Madison County" is a great love story; there won't be a dry eye in the house.

When the soul of a movie is reflected in an actor's eyes then you have a miracle, you have something that's going to last. Meryl Streep in "The Bridges Of Madison County" is such a miracle to me. I never thought for a moment that she, no matter how wonderful an actress she is, could fool me. Meryl Streep could never be Italian. Well, there I was, thinking and pre-judging like people I detest. I was so wrong. Not just because she fooled me, although there is no fooling involved here. She won me over. I forgot she was Meryl Streep, the actress, and I lived Francesca's story to the fullest because, I suppose, that's the mystery of great acting, I was confronted by her sheer undiluted truth. The truth in her eyes in every one of her gestures. The truth on her brow. Her thinking, transparent. Clint Eastwood does the right thing putting the entire film at her service and placing himself as the foil to liberate that powerful latent side of Francesca. I though it was ironic and I'm not sure if was meant to be that a wonderful woman like Francesca will sacrifice, what could arguably be call the love of her life, for those children. The grown children's mediocrity was kind of shocking to me. Will the revelation of their mother's secret, reveal a latent, greater side to their natures. I hope so. Francesca deserved extraordinary children. Try no to miss this little miracle.

The family of Francesca Johnson (Meryl Streep) is dealing with her final wish after her death. She wants to be cremated and her ashes scattered from Roseman Bridge. They discover pictures taken in 1965 and her emotional affair with famed National Geographic photographer Robert Kincaid (Clint Eastwood) whose ashes were scattered from the bridge. Her kids read her accounts of those four days. Her family went to the Illinois state fair. Robert was on assignment to film the bridge and stopped to ask directions from Italian war bride Francesca.

It's a simple bittersweet story. Director Clint Eastwood doesn't add anything overtly melodramatic. Meryl Streep is pitch-perfect. She's an expert on calibrating her accents but it's her every simple gesture that is so precise. She could teach an acting class from this movie. The story is basically laid out in the first ten minutes before either Streep or Eastwood is even on the screen. That is its most obvious drawback. It's not a movie of twists and mysteries. It is however a movie of emotional depth and her children are a big part of it.