The Iron Lady

Meryl Streep as Margaret Thatcher

Casting an American actress in the role of the former British Premier, Margaret Thatcher, was a controversial decision that perhaps set the tone and necessary tension for Meryl Streep’s delicate portrayal of Britain’s first woman premier. The Iron Lady was known as much for the contrast of her bright blue suits against the men's monotone suits as being a leader who made no apology for advocating and seeing through unpopular reforms.

I saw the portrayal of a woman often baffled by her male contemporaries’ head-nodding compliance to groupthink as compared to real thinking, and found her assertion on this matter [from another source] noteworthy: "To me, consensus seems to be the process of abandoning all beliefs, principles, values and policies. So it is something in which no one believes and to which no one objects." (1)

"Being powerful is like being a lady.

If you have to tell people you are, you aren’t." (2)

As a woman, I applaud Margaret Thatcher for wearing her femininity without the condescending need to conform to majority rule or to compromise her beliefs to fit consensus.  Personally, I have observed how traditional culture pervades the notion that a woman's capability is a threat to her spouse and to others, and she needs to subdue it.  Often, such messages come from women themselves in the form of backhanded compliments, "You are so smart and capable, I feel so inadequate around you."  Surely, for women and men, the meaning of our lives has to be found more in purpose and passion than in our gender and familial roles. Characteristically, the young Thatcher warned her beau when he popped the question, “One’s life must matter beyond being married, raising children... I don’t want to die washing cups!” Indeed, women can do all these and more.

Some other noteworthy quotes from the movie:

Alluding to re-runs of past events on the news, Denis Thatcher reminded his wife: “You can rewind it, but you can’t change it.”

The Iron Lady aggressed about her radical reforms: “What we need is MEDICINE and to take it... we are not managing decline but [in my own words] be healthy and prosperous.”

During an interview with BBC, 1973: ‘I don’t think there will be a woman Prime Minister in my lifetime.’ Understatement of the century.

‘People don’t care about thinking anymore but about what they are feeling... what are you feeling about this and that. What we think, we become. And I think I am fine,’ she told her doctor.

After the Iron Lady suffered dementia, her mental capacity deteriorated.  If the hallucinations of Denise shown throughout the movie were true, they would only be to fill the void and loneliness typically experienced by a surviving or staying spouse.  She sees him, hears his voice and engages in conversation with him as though he is still around.  Indeed, fantasy has a way to help people cope with loneliness and alleviate the pain of emotional void.

Although I took my teenaged daughter to this deferential biopic so that she could learn something about an iconic figure, the movie does seem to draw a more mature and dignified audience, judging by the people streaming in after us.  No clue why it was rated 'PG13 Brief Nudity' as there were no conspicuous nudity, sex or violent scenes.

1,2 Quotes from Margaret Thatcher extracted from http://www.listverse.com/

AFRICA United

World Cup 2010 may have passed, but the tale of a group of friends made in the trenches of life sharing a common dream is as timeless as Robin Hood. There's Dudu, a stodgy street kid who operates as 'Manager'; his little sister, Beatrice, who dreams of being 'a doctor who finds cures for illnesses'; Fabrice, an upper-class soccer talent/prodigy; George, a youth with a dark past whom they meet at a refugee camp where able-bodied youth are abducted in the night by the militants; and finally, a teenaged sex worker, Celeste. 

The entirely non-Hollywood cast speak with African accents that give the movie a more documentary rather than a drama feel, while the use of animated graphics to illustrate Dudu's fairy tale rendition of their expedition from the north of Africa to Johannesburg in the south gives it the feel of a folklore. The total effect is a childlike journey towards a dream that is unadulterated with over-caution, self-doubt, and the fear of the unknown.

Aren't believers also told to hold onto our dream - working towards the return of Christ? Hebrews 10:24-25 reminds us: 'And let us consider how we may spur one another on toward love and good deeds, not giving up meeting together, as some are in the habit of doing, but encouraging one another—and all the more as you see the Day approaching.'

To the African youths, the World Cup was 'the Day'; everyday moves in linear progression towards that day in terms of their choices and decisions made. Why then do those who profess their faith as Christians, not live out their lives as though 'the Day' matters? 

Do we live our lives as a continual memorial of our yesterdays or as a legacy towards 'the Day approaching'? 

This movie restores in me the power of childlike belief in dreams, and reminds me of the goodness of having friends around who share with me the joy of seeing my dreams come true - knowing that the journey will involve travelling through rough terrain, and often wrought with tearless pain and countless challenges.

THE SEPTEMBER ISSUE [Golden Village Vivocity]

the September Issue

A documentary on the making of US Vogue September 2007 issue. I marvel at the rate and degree of creativity that explodes to reach invisible standards mercilessly set by the editor-in-chief. There seems to be an invisible and compelling interplay of forces between one woman and the entire crew. On the one side is the editor's raw power to say 'yes' or 'no'; and on the other, the power of creativity to produce, reproduce and create new creative boundaries to fight back from being cut out - yet again. The rest of the world just benefit from the work of this contest.

I equally marvel at the firm direction given by Editor-in-Chief, Anna Wintour, and the creative mind of Grace Coddington, the creative director. Both are inarguably incredibly creative beings - one with form, the other with feel. The form without the right feel is cold and hard. The feel without the right form is invariably lost and forgettable.

But as soon as I stepped out of the theatre to my world, I'm glad my reality is much better than the world of US Vogue.