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'Golda' review: Helen Mirren makes a commanding Golda Meir in square but usable biopic

Helen Mirren has not played that historical figure in her storied career. But somehow, when she has, she brings not only exemplary acting but also impressive regalia, clearly at home when she plays monarchs such as Queens Elizabeth I and II and Catherine the Great. That said, I’m sure I’m not the only one who feels sometimes that she’s a little bit like Alma Hitchcock (in Hitchcock ) or Hedda Hopper (Trumbo) is flattering the women she plays because Mirren is a great beauty in addition to being a great performer. She was Elizabeth I in The Audience and The Queen , both by by The Crown Creator Peter Morgan is the OG screen Lilibet—sly, brash…and overly flashy, even in a battered Barbour jacket and hood. The cheekbones will come out.

Interestingly, her most recent performance was an all-time great lady playing Prime Minister of Israel Golda Meir, Mirren finally chose to go all out. Wrapped head-to-toe in latex and lumps, from a gray wig parted in the middle to ankle prosthetics that sit just above a pair of Meir’s signature “Golda” shoes (the strappy heels now look retro-chic, like the ones in the recent Rodarte collection) stuff), Mirren was barely recognizable. She’s so unrecognizable that you wonder if they could animate the character with visual effects and have her voiced. Makeup artists can be just about anyone—Judi Dench, Lupita Nyong’o, Timothée Chalamet—and that’s not to say hair, makeup, and prosthetic artist Karen Hartley Thomas shouldn’t be lauded for what she’s accomplished here.


Bottom line Overall presentation of Mirren and cosmetics.

Berlin Film Festival (Berlinale Special)

Helen Mirren, Camille Curtin, Liev Schreiber, Allie Piercy, Rami Schulberger, Lior Ashkenazi, Domi Nick Mafham, Ed Stoppard, Henry Goodman Director:
Guy Nativ

Writer: Nicholas Martin 1 hour40 minute

That said, Thomas applied minimal makeup to Mirren’s eyes, so the actor has something to express. The camera moves in here to study her eyes—wet with pity when she sees a colleague learn the news that her son has been killed in battle, as she plays Henry Kissinger (Levi Schreiber ) like a violin. ), shrunken slyly, nagging him to try her housekeeper’s borscht, lest he offend the woman by tempting him to give the Israelis more jets. Despite being buried in all the flesh and wrinkles, Mirren manages to express emotion very effectively with her voice, mimicking Meir’s Midwestern twang, gait, and posture.

However, this movie isn’t just about her, nor is it a biopic. Rather, it is a dramatization of events before and after the 1973 Yom Kippur War. Directed by Israeli Guy Nattiv, its powerful
About the reformed neo-Nazis making an impression a few years ago, Golda is one of the pivotal moments in world events the film aims to convey A history lesson and an award-winning showcase for its leading cast. Think of Gary Oldman as Winston Churchill in Darkest Hour, or Daniel Day-Lewis in Lincoln. The movie has far fewer options for Meyer’s biography than Churchill’s or Lincoln’s, so this allows Nattiv, Mirren and Golda to make Meyer a dramatic character , subverting the grandmotherly image many Americans who remember her still have. At the same time, showing her vulnerability and fragility as the story unfolds humanizes the figure who had been known as the Iron Lady long before Thatcher took over the label.

Nicholas Martin’s fact-jammed script is mostly conversations at the conference table. a war room with rudimentary radar equipment and an old Olivetti typewriter; and Meir’s testimony to a group of judging-looking old men who made up the Agranath Commission appointed to investigate whether she should have contributed to the proportionality of the Yom Kippur War. responsible for the higher death toll. Datelines, locations and the names of key figures are embroidered in one corner of the screen to help viewers understand who is who, one of whom is IDF Chief of Staff David “Dado” Elazar (Lior Ashkenazi), the Mossad The leader Elizera (Dvir Benedek). It’s easy to spot Moshe Dayan (Rami Heuberger) if you know how to look for blinders. Meir’s assistant and friend Lou Kaddar (Camille Cottin from Call My Agent) is the only supporting character who manages to maintain a rapport with Golda, as she is like a hen, in She hugged her lovingly when she needed it, and took her cigarettes when she was about to undergo radiation therapy for cancer.

In fact, there are so many smoking scenes in this movie that at times it feels like fetish entertainment aimed at smokers. Mirren cleverly uses the way Golda smokes a cigarette to illustrate the character. The way she handles the heavy Zippo lighter shows competence and command, and at one point, when she and her generals were discussing tactics on a map, a few packs of cigarettes and two lighters represented fighting an Army division. The passage of time is measured by how full the ashtray is. Cigarettes are sometimes like guns in Golda’s hands, lit and loaded. They are as much a part of her arsenal and armor as grandma’s sweaters and Victorian shoes. Nattiv and DP Jasper Wolf (Monos;

body, body, body

) loves setting up the camera from odd angles or floating above the action like an angel looking down, and at one point a big blob goes up The smoke rose from Golda’s side as she lay on the bed, completely covering her head. She is almost a literal Dragon Lady.

The intense visuals find complements in Dascha Dauenhauer’s stunning score and Niv Adiri’s sound design, mixing Noh-style percussion with crackling shortwave radio dialogue. Lots of movies watching Meir and the generals listening to people dying on the battlefield while they played cat and mouse with the Egyptians and Syrians. There’s no blood on screen, but the pain and agony are embedded deep within the soundscape itself.

Full credits

Venue: Berlinale Special

Cast: Helen Mirren, Camille Curtin, Liev Schreiber, Allie Piercy, Rami Hugh Berger, Lior Ashkenazi, Dominic Mafham, Ed Stoppard, Henry Goodman Production company: Qwerty Films, Perfume Films
Director: Guy Nattiv Screenwriter: Nicholas Martin
Producers: Michael Kuhn, Jane Hooks, Nicholas Martin
Executive Producers: Andrew Karpen, Kent Sanderson, Shivani Rawat, Julie Goldstein , Louise Nathanson, Ana Vincent, Hilton Nathanson, Tim Haslam, Hugo Glumbar, Christopher Feig, Robert Whitehouse, Ian Hutchinson, Saskia Thomas, Malcolm Rich, Celine Rattray, Jenny Harper, Jay M. Diener, Mark Charlendorf, Normal Merry, Peter Hampden, The Paul E. Singer Foundation
Co-producers: Derek Tan, Sayoko Teitelbaum Director of Photography: Jasper Wolf Product designer:
Costume designer: Sinead Kidao
Hair, Makeup & Prosthetics Designer: Karen Har tley Thomas
Editor: Arik Lahav Leibovich Sound Designer: Niv Adiri Music: Dasha Dawnhauer

Music Director: Dushiyan Piruthivirjah Casting: Alex Johnson Sales: Embankment Film 1 hour40 minute

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