LnD not so recently experimented with the Netflix Party Chrome screen sharing extension. This really didn’t go anywhere as there was no one there in person to poke D awake, like there is in real life.
Since then I’ve learned that Netflix Party Chrome extension is most popular as a hack that kids use to thwart parental controls — cool!
Once we got past the need to use an emphasis in the word biopic (/ˈbīōˌpik/) I was off to the races on my review. These two films include some high powered talent but only one hit the mark for me.
In The Two Popes, Jonathan Pryce as Cardinal Bergoglio the future Pope Francis and Anthony Hopkins as Pope Benedict leave you with the feeling that they were both born to play these roles.
But this is not your Dad’s Pope movie. And it’s not a simple good Pope vs. bad Pope story. The one major standout element of this film, besides the uncanny acting, is the scope and originality of the cinematography.
If you’re settling in for a film where two dudes sit on a bench and have a theological conversation for two hours you are going to be sadly disappointed. Two Popes moves, even wide angle shots track, overhead shots go right through helicopter rotors and the torture scene will stand your hair up at attention. It’s not a movie about romanticizing the past but examining the current situation through it.
On the other hand, The Iron Lady is a film where you never get away from the fact that this is Meryl Streep playing Prime Minister Margaret Thatcher. The camera lingers on her. You start to wonder, who was the Director? Was Streep the Director? (No. No she wasn’t. (Phyllida Lloyd.) This isn’t some vanity piece. And Streep who no doubt uses an Oscar statuette as a toothbrush holder has got more chops than Chopin at an Austin BBQ. In fact, she slays in another Netflix film with Antonio Banderas and Gary Oldman, directed by Soderbergh, The Laundromat. But here, she never gets lost in the character and so we can never transcend her being her fabulous self. We can never really understand the complexities of the times and the struggles she may have had with her choices. (Yes, Streep won her, yawn, third Academy Award for this role).
You don’t have to agree with someone in order to find them interesting. Often, it’s quite the contrary. But The Iron Lady seems stuck in a debilitated present, that lacks movement, that lacks a living history—and motivation. If a film doesn’t offer the audience transcendence, even on a visceral level, the most basic level that cinema can give, then the audience will also never get perspective on either the historical figure as real person or their own lives in relation to that figure.
In terms of biopic, it’s really a challenge to make a sweeping historical film meaningful. There are so many possible storytelling detours and dead ends. It’s easier and I’d argue more effective to take a situation, like in the 2018 Ruth Bader Ginsburg film, “On the Basis of Sex” and turn your narrative around that. That film was about the late great Notorious RBG’s first time arguing a case in court as an attorney. And by concentrating on those specific events, the story speaks to universal truths. However, this is not to say a sweeping biopic can’t hit you hard or inspire you, because it’s achieved with aplomb and passion in The Two Popes.