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Ｗ・スタイロンによる同名ベストセラー小説を、「大統領の陰謀」の社会派A・J・パクラ監督が重厚なタッチで映画化。第2次世界大戦中、ナチスのアウシュビッツ強制収容所で過酷な生活を生き延びた過去を持つ主人公役を、ストリープが深い悲哀をにじませながら鮮やかに熱演。この3年前の第52回アカデミー賞にて「クレイマー、クレイマー」で助演女優賞を受賞したのに続き、本作では念願となる第55回アカデミー賞の主演女優賞に輝き、実力派女優の名声と地位を不動のものとした。 米南部の地方からNYに上京した作家志望の青年スティンゴは下宿先で、深い愛情で結ばれた一組の男女と知り合う。ハーバード大卒の生物学者ネイサン、そして反ナチスの信念を貫いて戦時中に殺された大学教授を父に持ち、自らも強制収容所での過酷な生活を生き延びた経験を持つポーランド人女性ソフィーだ。2人の魅力的な人柄に魅せられたスティンゴは彼らと親交を結ぶが、実は2人にはそれぞれ、思いがけない秘密が隠されていた。
製作費: $12,000,000 (18億円)
興行収入: $30,036,166 (45億円)
純利益: $18,036,166 (27億円)
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Not long after the end of WWII, we meet "Stingo" (Peter MacNicol) who isn't exactly impressed when he encounters his new upstairs neighbours. "Nathan" (Kevin Kline) seems to be a bit of an noisy and brutish oaf towards his girlfriend "Sophie" (Meryl Streep). Luckily, next morning peace has broken out and they climb in his window to invite him on a seaside picnic. He's a budding writer, and what he clocks quite early is the volatility of "Nathan", a Jewish man who seems to have a great deal of emotional baggage. She, on the other hand, is much more considered and sedate - and that's the shield that he is determined to penetrate. Once he does and she begins to open up to him, we discover that she is an holocaust survivor and has had to make some horrendous decisions in her life just to stay alive. It's this latter, intimate and frightening, stage of the film that really showcases Streep's abilities to convey a palpable sense of fear. Sure, the accent isn't maybe the best but the scenes in the camp, the terrors and the anachronism of the commandant's relatively luxury home and happy family - where she ends up working in domestic service - being only yards from the scene of such brutality is also well, subtly, presented. Every now and again we come up for air - to their present day - to recalibrate the story and advance the more contemporaneous storyline before we dive deeper for some more of just what happened in Europe in the 1940s. It's another of those films where the victims of this villainy are the ones who want/need/have to forget whist others are fascinated by their experiences and want to know more. From that perspective, MacNicol plays his part - increasingly treading on the psychological eggshells - well, especially as the dynamic between them begins to shift. Kline doesn't disappoint, either. His annoyingly neurotic character isn't always the most likeable, but as a vital piece of this powerfully scripted jigsaw he adds a potent dimension to sentiments of guilt, grief, anger and regret that prevail as the story builds up an head of steam. It's a stylish, Gatsby-esque, looking production and brims with humanity, humility and some very dark humour on occasion, too. Not an easy watch, but stories like this never grow old.
