"VALERIE HARPER IS SPLENDID"
In 1969, When Golda Meir reached the highest of her life, Time put a photo of her on its cover. Underneath was the line: “Prime Minister Golda Meir of Israel.” Below that was the line: “Grandma Moses.”
Now, in the same congenial vein, comes a film called Goldas Balcony, adapted from the play of William Gibson, which I saw on Broadway in 1977. The play had – besides its star, Anne Bancroft – several supporting actors. In this film Valerie Harper plays Golda and all the other character that are needed, but those others are done only in suggestive style, without costume or makeup. Harper simply speaks the other one's line in the other one's place, with some vocal shift.
This is a film we know, once we hear the title, must be a panegyric. But it is an exceptionally an authentic one. Differing views that we may have about Israel and Zionism, about Israeli-Arab conflicts, are overcome at least for ninety-two minutes by this warm-stern-wry portrait of a dedicated women. Experts on her biography (which I am not) may have differences with her portrait, especially with the nuclear matters that arise, but the biographical facts are irresistible.
Meir's life need not be summarized here. Let's note only that she was born in Kiev, raised in Milwaukee, emigrated to Palestine to work towards Israel, and that this journey bristled with obstacles that took their toll but could not stop her. The film begins in the prime minister's office on Yom Kippur in 1973, the first day of the now-legendary war. Meir's strenuous activities during that day are interwoven with bits of her past that brought her to this place, this burden, this chance.
The director, Jeremy Kagan, who has done several features and much television, concentrates here on keeping the screen interesting despite the space limitations of the piece. (It takes mostly in Meir's office). Backgrounds flash by, decoratively or informatively; lighting coruscates and emphasizes; Meir's references to people and places get visual referents.
But of course the film depends on Valerie Harper's performance. The film is in a sense audience-insured, but that should not detract from the fact that Harper is splendid. She played Golda in a one-year tour of the William Gibson play, and she has mastered every inflection and gesture. A double pleasure of good acting then follows: we never feel that this Golda Meir is anything but genuine at the same time that we appreciate Harper's finesse. It is a lovely piece of work, it fulfills its intent – a tribute and an embrace.
~ Stanley Kauffmann, New Republic ~
