Meryl Streep, in her Protestant way, is stuck on words; she flashes clever accents as a mask for her deeper… — Camille Paglia
Meryl Streep, in her Protestant way, is stuck on words; she flashes clever accents as a mask for her deeper failures. (And she cannot deliver a Jewish line; she destroyed Nora Ephron’s snappy dialogue in Heartburn.) Streep’s work doesn’t travel. Try dubbing her for movie houses in India: there’d be nothing left, just that bony, earnest horse face moving its lips. Imagine, on the other hand, lesser technicians like Hedy Lammarr, Rita Hayworth, Lana Turner: these women have an international and universal appeal, crossing the centuries. They would have been beautiful in Egypt, Greece, Rome, medieval Burgundy, or eighteenth-century Paris. Susan Hayward played Bathsheba. Try to picture Streep in a Bible epic! Streep is incapable of playing the great legendary or mythological roles. She has no elemental power, no smouldering sensuality.
p. 16Source: Wikiquote · CC BY-SA 4.0
More from this book
The born-yesterday French-besotted faddists, addicted sniffers of wet printer’s ink, think they’re starting on the ground floor; so they’re condemned to another hundred years of trial and error. The rest of us can safely ignore them.
p. 202
I realize now how lucky I was, in the total absence of role models, to have only men to rebel against. Today's women students are meeting their oppressors in dangerously seductive new form, as successful congenial female professors who view themselves as victims of a rigid foreign ideology.
p. 213
Great women scholars like Jane Harrison and Gisela Richter were produced by the intellectual discipline of the masculine classical tradition, not the wishy-washy sentimentalism of clingy, all-forgiving sisterhood, from which no first-rate book has yet emerged. Every year, feminists provide more and more evidence for the old charge that women can neither think nor write.
p. 244

