An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past life, from girlhood to British prime minister, intervene.
A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
Elderly and a virtual prisoner in her own home due to her concerned staff and daughter Carol, Margaret Thatcher, Britain's first woman prime minister, looks back on her life as she clears out her late husband Denis's clothes for the Oxfam shop. Denis is seen as being her rock as she first enters parliament and then runs for the leadership of the Conservative Party, culminating in her eventual premiership. Now his ghost joins her to comment on her successes and failures, sometimes to her annoyance, generally to her comfort until ultimately, as the clothes are sent to the charity shop, Denis departs from Margaret's life forever.Written by
don @ minifie-1
Towering Central Characterization of an Unsympathetic Figure
THE IRON LADY boasts a wonderful central performance by Meryl Streep as Baroness Thatcher; she is wholly convincing at capturing the politician's peculiar vocal inflections. The most interesting aspect of Phyllida Lloyd's film is the way it portrays Mrs. Thatcher as driven by hubris - despite her humble origins, she remained convinced of the rightness of her cause, even when she was manifestly wrong. This was especially the case in 1990, when she was forced to resign as leader of the Conservative Party over her support for the Poll Tax. The film shows how she rode roughshod over any objections raised by her Cabinet, even when they were probably right to object. With this knowledge in mind, we do not feel much sympathy for her when she is shown as a lonely elderly lady, without the support of her husband Denis (Jim Broadbent), and trying and failing to fend for herself. The supporting performances in this film are colorless, sometimes veering towards the grotesque (Richard E. Grant's Michael Heseltine is particularly guilty in this respect). But the film belongs to Streep and her towering central characterization.
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