Film Review: 'The Iron Lady'

If you had asked me what "Iron Lady" looked like, I probably would have been bored with the usual answer: Meryl Streep. And let me also answer in half a sentence, which means the same thing: "Auntie achieves the ultimate magic of "decadence" in a single person, although this does not embellish the shortcomings of the film itself.
The choice of material for the biopic about Mrs Thatcher is more convenient than many of the older subjects, and whether it is possible to blend the material in refinement and flashpoints, and to separate the main points to penetrate the Iron Lady Prime Minister, I think is of paramount importance. But as a woman, the director was in a position where the Polish script could not focus on those most representative details amplified by the rendering, so there is a film: a flashback fragment of memory interspersed with biographical film based on almost everything, a narrative sized web of some key moments in Thatcher's life. We enjoy watching the documentary generally following the camera as it scans a strong female prime minister winding up most of her life, which is her persistent, tenacious beliefs as a woman, more stubborn and domineering leaving men at an iron fist distance, and of course her personal family life and lonely inner world failures. The list covers the general features of the surface of the approach, called total fairness, with no obvious personal point of view in sight. But ultimately making these elements obvious, even the cross-cutting belies the running dry general narrative, but Meryl Streep's unparalleled performance. It's clear that Thatcher was able to bring distinct status to the film during his political career. But the director can't seem to escape the male dependence on the female perspective. Although Thatcher is an outright hardliner, instead choosing to make the film at an age in which nagging dramatic visions of advanced her late husband begin to give a traditional view of the older woman, not a pre-emptive biography. Moreover, both the repeated reminders of modesty and the few key political performances are firm or its excellent eloquence and persuasiveness, as well as because the specimen has a real character and details of a natural life drawn out even further. This contradiction does not only not contribute to the characterisation, but also to the differences in the supporting characters, and does not contribute to the body of the film. Fortunately, however, Merrill Streep's performance makes these flaws less obvious.
It turns out that "The Iron Lady" is a running tale of boring banality turned into uselessness, but the subtle make-up serves as the soul of Merrill Streep's superb performance in general, and there is absolutely no need to worry about falling into embarrassment without watching the film. From the behavioural to the realistic and impassioned, Margaret Thatcher is very different and what I saw was an emotional, independent-minded, resolute and determined female Prime Minister. She uses her decades of sophistication and calmness to position the Iron Lady as a very complex, lonely and stubborn woman. The script's taciturn male protagonist rehabilitates her performance to some extent with a middle and primary school mind, and the female director, Chang Yin, plays the psychodrama's uncontrollability as sympathetically as the heroine, to the point of weakness. This is not necessarily a highly simulated role, but it has to be the most convincing expression of the character given the aunt's temperament.
So look at "The Iron Lady", you can be in segments of fractal collage reductive degrees of historical fact, or you can be in weak lethargic narrative, but there is a unique viewing of Merrill Streep the day after this film, and I'm sure no one will say no.