Plenty

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.

This much-overlooked British drama opens with, literally fades in on, her days in WWII France. It follows her through the next 15 or 20 years, and ends with an aching scene from a past day when she thought tomorrow seizes nothing but good things for her. But nothing else in her life is ever as valuable, as dignifying or as exciting as the war. She is, maybe, a little insane. She divulges in one scene that she has a considerable issue: "Sometimes I like to lose control."

Fred Schepisi's obscure film stars Meryl Streep and it is a performance of daring delicacy. It is hard to play an irrational, maladjusted, quasi-suicidal woman with such tenderness or grace. She is oftentimes quite charming to be around for the other characters, and when she is letting herself fall short of restraint, she doesn't do it in the vein of those exclusive movie frenzy scenes but with a relatively pleasant imperativeness.

When she returns to England after the war, she makes friends with a round-faced, grinning imp played by a refreshing Tracey Ullmann. Another is Charles Dance's foreign service officer who is initially charmed by her casual, free-spirited lifestyle, and then marries her and becomes her permanent aggrandizer, putting up a barricade of composure and practically divine patience around her tantrums.

It is challenging to pigeonhole specifically what it is that disturbs Streep's character. Early on, David Hare's screenplay shepherds us to her own heuristic that after the valor and brazenness of the war, after the gallantry and the passion, it is beyond absurd to her to readjust back to normal life and endure the tedious small talk of civil commonality. Yet as the film proceeds in a clandestine manner of being episodic, we find there is something persistent, a little vicious, in the way she humiliates her husband at crucial times, constantly seeking to be tactless and incongruous. Ultimately, we gravitate toward his position when he eventually thunders that she is hateful and pitiless, and oblivious to those who have withstood her.

But then there is an postlude, moistened by the misty twilight of the most dismal hour of fall, and there is such despondence in the way she and another character both become conscious that nothing will ever graze them again the way the war did. This bit part-filled movie is conclusively not a assertion concerning war, or foreign service, or middle-class British, but just the story of this lost woman who at one time lived profoundly, and now finds that she is barely even living.

The performances grant one enthralling solitaire after another. Most of the pivotal instances come as different characters eclipse different scenes. Streep births a complete character around a woman who could have merely been a hit list of problems. Charles Dance has an unrewarding part, as her perpetually agonized husband who from the beginning seems like a very dull bureaucrat, but survives to show that he is respectable as well as foolish. Sting plays a commonplace young man who ineffectively tries to conceive Streep's child for her. John Gielgud has three small scenes and steals them all, which essentially is the story of his career. Plenty is written, acted and directed as a lather of refinement and delicate shrewdness, underneath which grows the revelation that life can often be futile, dull and depressing, and that there can be days, months, years, decades in accordance.

PLENTY cast such a spell on me. It is one of those films which has a mood and tone all of its own. It is sombre, dreamy and elegaic. And it features a little seen, yet compelling and masterful central performance from Meryl Streep, who lights up the screen with the type of intelligence and female strength one laments the absence of in contemporary film.

Based on David Hare's play, PLENTY (like so much of his work) boasts wonderfully complex, multi-layered roles for women. Meryl Streep and Tracey Ullmann excel with the intelligent dialogue given to them by this incredible writer - and despite the plethora of strong male actors surrounding them, it is the women whose stories move and interest us the most.

What I love about PLENTY is that so much about it is anti-Hollywood. Its convoluted plot is often incoherent and dreamlike, its dependence upon memories and the co-existence of past and present present challenges for audiences who normally would be sign posted in the 'correct' direction. It has an impressionistic, hypnotic feel, and the film's characters, especially Susan, are unappologetic and potentially dislikeable people. Its narrative resoultion is ambiguous, refusing the closure of more traditional dramas. Here we have a film which refuses to pander to the demands of the mainstream, and for that it is to be applauded.

Is there anything new that any of us can say about Meryl Streep??? This is a must for admirers of the actress, and a must for anyone with a penchant for riveting, deeply intelligent acting. Meryl grabs the part by the throat, investing Susan with a compelling defiance, a fierce intelligence, a sensuality, and a restrained beauty. Watch out for the dinner party scene. I forgot there was anyone else in the room (a room which included Sir John Gielgud and Charles Dance!) Such command, such depth, and such naturalness. This is an actress of phenomenal depth and magnificent expression. And such wonderful chemistry with the other actors! (Even Charles Dance who reportedly was a bit of a diva on set!! I wonder if this helped to enhance the fiery antagonsim between them on screen?)

In sum, PLENTY is deeply complicated, but give it time, watch it more than once and you will be rewarded. For its thoughtful direction, its searing, intricate dialogue and its mesmerising acting - this is a film that deserves to be seen by much larger audiences. Bravo Queen Meryl!!

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.

There is now and has been since 1985 a lot of conjecture as to what this film is about. The reaction I had after I first saw this film was one of the first times I was genuinely depressed after I had seen a film. Depressed by an outside force not from within myself. Women in my family were of the similar age Meryl Streep's character of Susan Traherne...so I asked them how they felt during the war and after. Their candid replies (not prompted by any film discussion either) led me to believe PLENTY was a state of mind, a post war feeling of "winner's feast after survival"...I came quickly to realize Susan Traherne, her men, her lovers, her descent into disillusionment, unhappiness, into madness, irrationality. the realization she had to live with herself and her gauche cruelty, snobbery, foolishness and self deceit... was about Great Britain herself, Susan is the Nation, Brittania. PLENTY is possibly the saddest film I have ever seen, on par with MILLION DOLLAR BABY but for different reasons. I also think Susan represents the women baby boomers in every country had as their Mother, who after taking a deep sunny breath of freedom after struggle found that their family and suburbia was a prison and that post war servitude and struggle was the hell they never reckoned with. PLENTY is a great title for this film of 'the promised land" that turned into a supermarket car park. I never want to see it again. Such is the heartbreaking success of this production. PLENTY is a major achievement in film making and it's emotional reality is absolutely crushing.... like Susan's soul and promise was crushed by post war plainness. THE HOURS goes into the same territory in the 1950s sequences with Julieanne Moore wanting to suicide. Susan's sex scene during the Queen's coronation is the cruelest, most superb observation of the relationship between the Royal family and Britain. PLENTY is a character study and not a popcorn movie. Not all films are 'flicks' as some people demand they be. THE FIGHT CLUB and the effect on 30 year old men of today of the pressures commercial modern living as personified by Ed Norton in his famous "ikea" speech is a good equivalent for today's crushed male soul.