The Couch Potato's Guide to New Hollywood: The Legacy of Meryl Streep

Jack Mitchell , CC BY-SA 4.0, via Wikimedia Commons

By Geoff Carter

Meryl Streep is nearly universally acclaimed as the finest actress working in cinema or on the stage today—or any other day. Her name is synonymous with the absolute gold standard of acting, and she has appeared in some of the most outstanding and unusual films produced in the modern age of cinema, including The Deer Hunter, Doubt, The Post, Adaptation, and Sophie’s Choice.

There doesn’t seem to be any sort of role she can’t handle. She’s done serious drama, biopics, comedy, television, and even musicals. From the free-spirited and courageous Karen Silkwood in Silkwood to the acerbic and vindictive Miranda Priestly in The Devil Wears Prada to the tortured and guilt-ridden Sophie Zawistowski in Sophie’s Choice to her portrayal of the regal and dominating Margaret Thatcher in The Iron Lady, there doesn’t seem to be a character anywhere that Meryl Streep cannot play. Or characters. In the outstanding HBO series Angels in America, Streep played multiple characters—a befuddled street person, a no-nonsense Mormon woman, an ancient rabbi, and Ethel Rosenberg.

Underneath the carefully crafted layers of nuance, mannerisms, and persona, the viewer gets an impression that the real Streep is having the time of her life; even her most unlikeable or desperate characters seem to be buoyed along on an undercurrent of amused exuberance. In her short but memorable role as Jill Davis, Woody Allen’s ex in Manhattan, Streep exudes a placid canniness—and wry hostility—as she observes her nervous ex-husband (while enjoying every minute of it).

She has all the tools of a great actress but her greatest asset is—finally—her relatability. Every character she plays strikes a chord somewhere within the viewer. Miranda Priestly, a modern connoisseur of just plain nastiness, has a human side that Streep not only grudgingly reveals, but one that she also evokes sympathy for—almost against the viewer’s will.

In Mama Mia or Into the Woods, Streep has an unabashedly good time. In her more unsympathetic roles, like Kramer vs. Kramer, she doesn’t make Joanna Kramer likable, but she is able to make her understandable and sympathetic, which seems to be something she can’t help doing. We love Meryl Streep because she finds something for us to like in all her characters.

The Ten Best Films of Meryl Streep

Sophie’s Choice: In 1947, Stingo (Peter McNichols), a young writer, moves into a Brooklyn rooming house where encounters Sophie (Streep), a beautiful Polish refugee, and her eccentric and volatile boyfriend Nathan (Kevin Kline). The beautiful and charming couple take Stingo under their wing as they amuse themselves with fascinating diversions. Sophie reveals to him that she was a prisoner at Auschwitz—Stingo learns that her father was a Nazi sympathizer. After Nathan blows up in a jealous rage, Sophie and Stingo flee to a hotel, where she reveals to him the awful choice she had to make at Auschwitz. Streep’s performance here is a perfect portrayal of a woman pulled by an undertow of unbearable guilt; she is a woman who cannot escape her past. Notable for Streep’s impeccable mastery of accent.

Starring: Meryl Streep, Kevin Kline, Peter McNichol, Rida Karin, and Steven D. Newman. Written and directed by Alan J. Pakula from the novel by William Styron.

The Deer Hunter: In this Michael Cimino epic, a trio of buddies from a small Pennsylvania mining town leave to fight in the Vietnam War. Nick (Christopher Walken) leaves his girl Linda (Streep) behind. Michael (Robert DeNiro), Steve (John Savage), and Nick are captured and face harrowing psychological torture in Vietcong prison camp. They escape but are separated. Thinking Nick is dead, Michael returns home and gets together with Linda until they discover Nick is indeed still alive in Vietnam. Streep’s portrayal of Linda captures the unsureness and desperation of a young woman caught in a dead-end existence who realizes her only way out is marriage. Notable for the infamous Russian Roulette scene.

Starring: Meryl Streep, Robert DeNiro, Christopher Walken, Jonh Savage, John Cazale, and George Dzundza. Written by Deric Washburn. Directed by Michael Cimino.

Silkwood: Based on the true story of Karen Silkwood (Streep), a whistle-blower who worked at the Kerr-McGee plutonium plant and died mysteriously in a car accident on her way to meet a reporter with information about defective fuel rods at the plant. Streep portrays Silkwood as a tough yet vulnerable woman who swings from self-destructive behaviors to social awareness—and then activism—during the course of the film. The character is outspoken, intelligent, tough, and funny. Streep portrays all that—plus a deeply rooted anger—in her portrayal. Notable for the great ensemble work of Streep, Kurt Russell, and Cher as roommates.

Starring: Meryl Streep, Kurt Russell, Cher, Craig T. Nelson, and Tess Harper. Written by Nora Ephron. Directed by Mike Nichols.

Doubt: In a 1964 Bronx Catholic Church, Sister Aloysius, (Streep) the conservative school principal, becomes suspicious of Father Brendan Flynn (Philip Seymour Hoffman) the parish priest when begins paying particular attention to one of his students. Sister Aloysius confronts Father Brendan with her suspicions. Even though he denies all wrongdoing, the sister presses on, enlisting the testimony of Sister James (Amy Adams), a novice who believes she saw the priest engaging in inappropriate behavior. Streep here is a paragon of moral fortitude, unwavering in her belief that Flynn is guilty; she’s that nun we had in grade school . She savors every triumph over him with a vicious glee and pursues him relentlessly until he leaves the parish. Notable for phenomenal ensemble acting of Hoffman, Streep, and Adams.

Starring: Meryl Streep, Philip Seymour Hoffman, Amy Adams, Viola Davis, and Joseph Foster. Written and directed by John Patrick Shanley.

The Post: The gripping dramatization of publisher Katherine Graham’s (Meryl Streep) agonizing decision of whether or not to publish the Pentagon Papers in The Washington Post in 1971. Tom Hanks plays Ben Bradlee, the Post’s hard-nosed editor-in-chief, who is determined to publish the documents. He works hard to convince Graham and the Post’s conservative Board of Directors to exercise freedom of the press and do so. Streep’s portrayal of Graham moves from a genteel woman unused to—and afraid of—running a major newspaper, to a person who defies her board of directors to take the bold step of publishing the Pentagon Papers. In Streep’s hands, Graham never loses her sweet gentility; her strength rises sublimely from underneath it. Notable for Hank’s great turn as the acerbic Bradlee.

Starring: Tom Hanks, Meryl Streep, Bob Odenkirk, Bradley Whitford, Sarah Paulson, Tracy Letts, and Alison Brie. Written by Liz Hannah and Josh Singer. Directed by Steven Spielberg.

The Devil Wears Prada: In one of her most infamous roles, Streep plays Miranda Priestly, the sadistic editor of a leading New York fashion magazine. Miranda is demanding, caustic, and utterly ruthless. When Andy Sachs (Anne Hathaway), is hired as Priestly’s co-assistant, she is put through the wringer in the mogul’s cruel and unusual work environment. She eventually adapts and begins to respect Priestly’s ruthless perfectionism. Until she goes too far. Streep here plays Priestly as a dominating and harsh boss, but there is an underlying sense of purpose in the character that allows the audience to almost excuse her behavior. At any rate, Streep somehow pulls off making us almost one of the most unsympathetic characters of all time. Notable for a fine comic turn by Emily Blunt, Hathaway’s office colleague.

Starring: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Adrian Grenier, and Simon Baker. Written by Aline Brosh McKenna. Directed by David Frankel.

Adaptation: In this surreal black comedy, Charlie Kaufman (Nicholas Cage), who—in this odd metafictional universe—is working on the screenplay for “The Orchid Thief”, the same film adaptation the audience is presently watching. Kaufman, tormented by doubt and low self-esteem, cannot get started on the project and is convinced the film cannot be adapted. When his twin brother Donald (Cage) appears suddenly and decides to try his hand at screenwriting, the results are unexpectedly sinister, surprising, and hilarious. Streep plays Susan Orlean, the author of the book, as a calculating femme fatale who uses people and throws them away like Kleenexes. Notable for Chris Cooper’s portrayal of John Laroche, Orlean’s partner in crime.

Starring: Nicholas Cage, Meryl Streep, Chris Cooper, Brian Cox, Cara Seymour, Tilda Swinton, and Catherine Keener. Written by Charlie Kaufman. Directed by Spike Jonze.

A Prairie Home Companion: A breezy and loosely adapted version of Garrison Keillor’s famous radio program. Unbeknown to its listening audience, the cast of PHC, including the Johnson Sisters, cowboys Dusty (Woody Harrelson) and Lefty (John C. Reilly), and host Keillor are preparing for the program’s final show. Yolanda (Streep) and Rhonda Johnson (Lily Tomlin) of the Singing Johnson Sisters—along with the rest of the cast—wonder what will become of the cast and crew. Although the movie is filled with somewhat heavy-handed characters, the movie is still a ton of fun. Streep is winningly goofy as one of the singing Johnsons, constantly wondering why she and Keillor never made it as a couple. Notable for a great supporting cast including Tommy Lee Jones, Kevin Kline, Virginia Madsen, and Lindsay Lohan.

Starring: Meryl Streep, Lily Tomlin, Woody Harrelson, John C. Reilly, Garrison Keillor. Kevin Kline, Tommy Lee Jones, and Virginia Madsen. Written by Garrison Keillor. Directed by Robert Altman.

Ironweed: Francis Phelan, (Jack Nicholson) an ex-baseball player wracked with guilt for accidentally causing the death of his infant has withdrawn from the world and become a homeless drunk. Haunted by memories of his past, he seeks out Helen (Streep), a drinking buddy and sometime lover. Phelan tries to reconcile with his family as the homeless—including Archer—are subjected to an attempt to violently eject them from Albany. Streep’s Archer is a woman scraping bottom, but who exhibits—in the company of Francis Phelan—a spark of hope and vitality. In Streep’s hands, Helen’s desolation and way of life are not disgusting; they are part of her make-up. Notable for Tom Waits’ fine performance as Francis’ buddy Rudy.

Starring; Meryl Streep, Jack Nicholson, Tom Waits, Fred Gwynne, Diane Venora, Michael O’Keefe, and Nathan Lane. Written by William Kennedy and directed by Hector Babenco.

Kramer vs. Kramer: This 1979 legal drama was Streep’s breakout role. She plays Joanna Kramer, a woman who suddenly leaves her husband Ted (Dustin Hoffman) and their young son Billy (Justin Henry). Suddenly confronted with the responsibilities of being a single parent, Ted is overwhelmed and his work suffers, but eventually he and Billy learn to live together; in fact, the experience strengthens their relationship. But Joanna suddenly reappears, announcing that she will be seeking custody of Billy. An ugly custody battle ensues. In her portrayal of Joanna, Streep once again tiptoes the line of showing Joanna as a heartbroken woman or a heartless bitch. Notable for Hoffman’s performance as the harried—then helicopter—father.

Starring: Meryl Streep, Dustin Hoffman, Justin Henry, Jane Alexander, Petra King, Howard Duff, and JoBeth Williams. Written and directed by Robert Benton.