ISSUE 100
Thatcher's political life; it would be a particular look back through her own. eyes at selected memories not in chronological order, but in a jumble of memory, regret, glory days. It would all be a part of a reckoning."
The film is facing intense scrutiny for breezing past the political turmoil that Thatcher stirred and, instead, focusing on her personal life. "We have come under criticism for portraying someone who is frail and in delicate health," Streep admits. "Some people have said it's shameful to portray this part of a life, but if you think that debility, delicacy and dementia are shameful, if you think that the ebbing end of life is something that should be shut away if you think that people need to be defended from that, from those images - then yes, it is a shameful thing. But I don't think that. We are naturally interested in our leaders, and we tell stories about ourselves through the stories of important people."
Out director Phyllida Lloyd elaborates: "We thought of the film as something of a King Lear for girls, a Shakespearean story not a political story. So, in that sense, we spoke to a number of Margaret Thatcher's closest associates, who described her story in Shakespearean and operatic terms. I'd worked in opera a lot and to me, this did have some of the elements of a tragic opera. The movie is a combination of the political world and pure imagination. It's two very distinctive worlds."
This isn't the first time Streep and Lloyd have bridged two worlds. 2008's Mamma Mia! united the actress' singing and dancing, with Lloyd directing.
"I think it's always easier the second time working together,"
the filmmaker admits. "In fact, you should start with the second time."
Looking at her, pretending to be offended, Streep laughs: "What do you mean?"
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▲ Photos by The Weinstein Co. and Alex Bailey
"I loved working with her... the first time," the actress razzes. "We had shorthand (on Iron Lady), and we had to - because we had $14 million to shoot a movie that takes place over the course of six decades. And that's basically no money. That's less than a 10th of what Hugo cost."
She hands it to Lloyd for strongly conveying her vision prior to shooting, which allowed Streep a sense of security in knowing just how to find Thatcher's mind, body and spirit.
"I'm playing a Margaret Thatcher no one has seen or really knows, and we can't know it's an imagined journey that we were taking so I felt a lot of freedom. I did," Streep says. "I felt completely free, and that's a testament to the director."
But it wasn't all Lloyd. Though she's never met Margaret Thatcher, Streep wore the prime minister's many hats, learning that the woman wasn't al slacker and that her father saw Thatcher as the man of the house. "He discovered, of his two daughters, one was uncommonly bright and uncommonly curious, and maybe this could be his boy," she says. "That's what I think. She fulfills a promise, and he infused in her the courage to get up and out. She had a lot of promise, and she wanted. to live up to it."
When did Streep realize the same for herself?
"I never really decided. I'm still ambivalent." She laughs at the notion. "But no, being an actor lets me be a million different things, so I don't have to decide."
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GayCalgary Magazine #100, February 2012 23