Archive for 1980’s

Halloween Month: The Burning (1981)

Posted in Halloween Month with tags , , , , , , , , , , , , , , , , , , on October 20, 2014 by Hayley's Horror Reviews

This week its time to present a campfire chiller all vengeful and bloody ready for Halloween. With the Abertoir Horror Festival on its way next month, complete with a notorious video nasties theme, it seemed appropriate to offer one of the first films that made it onto the UK’s banned list back in the 1980’s. Now while I’m all for recommending a certain iconic hockey-masked wearing, machete-wielding psycho that goes around slaying sexually-charged happy campers, The Burning is an interesting film in its own right. This is mainly because while the film pays homage to the sub-genre and shares its style and themes with the studio-slasher from the previous year, Friday the 13th (1980), it doesn’t wholly stick with expected conventions. However for its time of production The Burning still played it safe in terms of not diverting too far from conventionality. The early 80’s saw a out pour in popularity with the stalk’n slash teen movie and this was one of the earliest. Before Freddy Kruger there was Cropsy.

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A summer camp prank goes horribly wrong when a group of young teen males band together to exact revenge on their mean caretaker Cropsy (Lou David). What begins as a harmless scare turns into terror as the boys accidentally cause a drunk Cropsy to burn alive after knocking over a lit, decomposed skull. After five years of hospital rehabilitation, Cropsy is unleashed back into society, hell bent on murdering groups of youths near the summer camp he endured his fateful accident. The hormone-driven adolescents have no idea what’s in store once Cropsy and his sharp shears returns to bump them all off.

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The Burning materialized following well-known movie producer Harvey Weinstein’s desire to break into the film industry. Spotting the opportunity to capitalize on the success of low-budget horror films such as Halloween (1978) and The Texas Chainsaw Massacre (1974), Weinstein discovered a niche and then began to swap scary stories with his producing partner Michael Cohl. Recalling the legend of The Cropsy Maniac (the intended title) that he heard at a upstate New York summer camp as a child, Weinstein and Cohl had an idea on their hands. Upon the film’s release certain reviews (one found in J.A. Kerswell’s Teenage Wasteland (p.192) suggested that The Burning had attempted to replicate the success of Sean. S Cunnigham’s Friday the 13th which coincidentally was released a year prior. Weinstein has adamantly stated that he wrote his treatment for The Burning in 1979 and registered it in April 1980 a month before Friday the 13th was released. Tom Savini who was noted for his effective make up work on Friday the 13th opted to work on The Burning over the second part in the Friday franchise also released in 1981. His effects that transform Cropsy into a frightful monster are exceptional, providing a sense that he’s not quite human like the storytelling campers talk about within the film.

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The Burning is a classic tale of a murderous maniac exacting revenge on those who wronged him, one that has been heard from a friend of a friend and so on. Cleverly The Burning doesn’t let on as to whether the events of the film are real or not. Are we the audience just part of a campfire tale? Delving into the anxieties modern society faced such as the rebellion of youth and the lack of adult authority, The Burning is one of many 80’s horror films that achieves the notion of paranoia. Much of the killings take place during daylight which frighteningly allows the threat (the killer) to step into our supposed safe every day lives.

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There’s plenty of horror in store but also an interesting mix of teen movie/comedy tropes involving pre-marital sex ( a big no in slashers!) and elements of the coming-of-age film which lulls the viewer into a false sense of security as the The Burning really does slow-burn before getting to its bloodiest moments, allowing us to get acquainted with the young campers and their care-free attitudes that makes us forget horrible things are about to happen. There’s a sense of friendship at play as The Burning does something rare in comparison to the lot of slashers, it shortly does touch on the subject of remorse experienced by the remaining survivors following the discovery of the bodies of their dead friends on the abandoned raft; highlighting the severity of the ghastly events and their impact on the young.

Glazer is persistent for Sally’s affections.

Just like several films of its era, The Burning is a fable to suggest that if teenagers engage in sexual activity there will be dire consequences. However this is made complex throughout the narrative, the young female characters aren’t completely susceptible to the charms and occasionally forcefulness of their male peers, providing uncomfortable viewing. Interestingly, Cropsy’s first three on-screen victims are female (excluding the infamous raft scene). The first is a prostitute that Cropsy visits on his release from hospital, a sequence echoing the famous scene from Peeping Tom (1960), where we see the victim’s fear from Cropsy’s point-of-view. The second is Karen (Carolyn Houlihan) after she behaves like a cock-tease towards Eddy (Ned Eisenberg). She goes as far as skinny dipping with him but refuses to let him go the whole way, apprehensive due to his ladies-man persona, Karen worries that she’ll just be another “statistic” which hints as a metaphor to the fear of contracting a sexually-transmitted disease. Despite her decision to not have sex she still ends up dead, ironically a statistic in a teenage bloodbath. The frustrations of Eddy and Karen mirror those of the killer’s, all based in rejection, rejection from human contact.

Sally’s death scene. Sex = Death trope.

 

Cropsy’s third victim is Sally (Carrick Glenn). Sally plays hard to get against Glazer (Larry Joshua), who’s persistent and makes promises of a wonderful experience. On the outside Glazer is a brute and disrespectful to his peers but demonstrates signs of naivety and vulnerability. Sally eventually gives into him but the sex is far from the greatness she expected and is then the next to meet her demise. Even though the female characters are written a little more than one-dimensional with elements of headstrong personalities, they all fall into the the sex equals death category which wasn’t turned on its head until mid-90’s horror and beyond.

Todd, The Final Boy seeks out to defeat Cropsy.

Now where the film differs from its Halloween’s and Friday the 13th’s is by subverting the traditional dynamic of the inclusion of the final girl. The active character this time round who faces the killer head on is in fact male and one of the pranksters from the beginning of the movie, camp counsellor Todd (Brian Matthews). From a storytelling point of view this made sense with Todd confronting his mistakes in early adult-hood as he was partly responsible for Cropsy’s disfigurement. Interestingly he rescues another male character, Alfred (Brian Backer), the observant one that first sees a glimpse of Cropsy from the window early on while the others dismiss him. Together these characters embody the tropes associated with the final girl. The Burning remains one of the only films of the genre to feature a final boy instead with Todd representing the muscle and Alfred the mind. Together they combine the essential ingredients for a horror movie survivor while eliminating the boy saves girl or vice versa convention.

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The identification with the killer in slasher cinema was fast becoming a sub-genre staple. Point-of-view shots from Cropsy are depicted early on within the film, the effect was created with the use of vaseline rubbed onto the camera lens to indicate distortion. In this case the teenagers describe him as a monster and use him as scary-story material but from an audience perspective there is a slight sense of empathy for our shear-swinging psycho. The Burning doesn’t establish enough as to what sort of brutal acts Cropsy conducted during his time as a caretaker and whether he warranted such an unpleasant fate at the hands of the kids who claimed his cruelty. Therefore there’s a complexity at play as to who’s side the audience should be on, or possibly we’re meant to see it from both angles. Unlike Michael and Jason, Cropsy does not disguise himself with a mask, however he embodies the tropes of the silent killer. His burned face was possibly an early inspiration for Freddy Krueger.

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Strangely, the BBFC over here in the UK had let Friday the 13th off the hook and was released uncut in 1980. James Ferman, the censorship director at the time had deemed it too “far-fetched” to even be considered realistic. However by 1981 things had changed. 26 cuts to the gore effects were made to The Burning when it came out on September 23rd 1981 with a big, fat X certificate. The 26 seconds did reduce the impact of the film’s goriest scenes which depict close-ups of impalements courtesy of  a sharp object. When home video was on the rise, Thorn-EMI allegedly put the the uncut version of the film by accident onto VHS. This was where the controversy began. When the film was seized under the Obscene Publications Act, Thorn-EMI tried their hardest to ensure the government that they had not purposely intended to release the film in its original state. They attempted a compromise where they would bring out a BBFC-approved version, however video-store owners and gore-hungry horror fans alike tried to keep their copies of the version that was meant to be seen making it one of the most infamous video nasties of the decade. Looking back now in 2014, it does go to show that when banning certain films, while letting others into the public domain unscathed that were thematically similar to each other that there was little knowledge about horror films when it came to censors, making them appear contradictory and ignorant but this is something that has been covered exceedingly well in both of Jake West’s Video Nasties documentaries, Moral Panic, Censorship and Videotape (2010) and Draconian Days (2014).

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The Burning is one to watch this Halloween. While it didn’t hit the same chord as the Friday the 13th franchise or generate mindless sequels (thank God!), its a gem in its own right. While not the greatest horror film ever made, its by far not the worst, it includes some of Tom Savini’s best FX work and an insight into a different slasher perspective. Who could forget the iconic imagery of Cropsy holding up his shears ready to kill?! Its based on a real-life urban legend too! The Burning launched the careers of Holly Hunter, Jason Alexander and Fisher Stevens, all the best actors start out in horror (yes I’m referring to you Johnny Depp!). But best of all you can watch it completely and totally uncut!

The-Burning

Hayley Alice Roberts.

Hayley’s Horror Reviews.

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Halloween Month: Friday the 13th (1980)

Posted in Halloween Month with tags , , , , , , , , , , , , , , on October 8, 2013 by Hayley's Horror Reviews

Thirty-three years following its release Friday 13th has proved to be one of the more influential slasher films of all time. The film kick-started a franchise with a total of ten direct sequels, one spin-off with the Elm Street franchise and one remake. Not only that, it paved the way for the popularity of many others of a similar vein such as the Sleepaway Camp Movies and The Burning right up until the present day with the Hatchet trilogy. While stalk n’ slash movies bled onto 1980’s cinema screens left, right and centre, Friday 13th had something the majority of them didn’t- success! Part of this is down to having Paramount Studios behind them, one of the most well-established, highest-grossing distribution studios of all time, however back in 1980 critics displayed disgust that a big studio would release what was considered a low and violent form of entertainment. Friday 13th was the first of its type to achieve backing from a major studio, resulting in it becoming one of the most profitable films of all time and over the years developing a cult following. Paramount went all out and spent a fortune on marketing the film which lifted the box office figures greatly, providing the slasher film with a more commercial appeal. Therefore if anyone is to blame for endless, over-the-top as they go on sequels, its Paramount Studios. But we’re all horror fans here so we love them!

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Creator/Director Sean S. Cunningham developed Friday 13th, after gaining inspiration from John Carpenter’s Halloween. Cunningham was no stranger to the genre following working with Wes Craven on The Last House on the Left (1972). His intention was to create something truly terrifying which had comical elements at the same time. The film’s original title was A Long Night at Camp Blood during the early writing stages. Cunningham had already set his sights on his gory, upcoming movie as Friday 13th. He did everything in his power to ensure he could secure the title in order to avoid any copyright lawsuits. Eventually he was successful in obtaining it despite being threatened by someone behind a lesser known title Friday 13th: The Orphan, rumour has it that the person was paid off and Friday 13th was shot in the September of 1979. Cunningham now had the opportunity to make his “real scary movie”.

When anyone thinks of Friday 13th, a flood of images come to mind. The main associations come in the form of brutal killer Jason Voorhees, his hockey mask, machete, the sinister whispers of “kill, kill, die, die” and what appears like super-human abilities. Other than Jason, the setting is key to this film series, Camp Crystal Lake, where the body count is high and the blood shed vast, a number of the films are primarily set there, unless you care to remember Jason Takes Manhattan or Jason X. Camp Crystal Lake is what Haddonfield is to the Halloween franchise. However, while the original film is considered the best of the series and most well-remembered, interestingly it barely features Jason and he isn’t even the killer. The nice, humble Mrs Voorhees takes to the blade first time round, out for blood-thirsty revenge on sexually-active teenagers who were too busy fornicating to notice her precious son was drowning to death in 1958. Her reign of terror doesn’t end there as the re-opening of Camp Blood in 1980 causes our favourite female psycho to unleash a new rampage of revenge on a group of unsuspecting teens, including a relatively unknown Kevin Bacon!

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Arguably, Jason could technically still be the killer in the original in spirit, telepathically communicating through his deranged mother.  That, or she’s just completely crazy using a split personality in order to project the grief she has for losing Jason, muttering classic lines such as “Kill her Mommy” over and over, played wonderfully by Betsy Palmer. But that depends how you want to interpret it. Palmer admittedly only took the role in order to purchase a new car and despite not thinking highly of the movie, famously saying “What a piece of shit! Nobody is ever going to see this thing.” she eventually came round to thinking fondly of it and even agreeing to perform a cameo appearance in the sequel the following year. Palmer, without a doubt contributed to creating one of the most iconic female roles in the genre with her unforgettable performance.

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Jason’s iconic image of how we love and know him today didn’t make an appearance until the third film, Friday 13th Part III: 3D (1982). In part one he’s the mutated boy in the lake, in Part 2 he hides his identity by wearing a brown sack over his head. Allegedly Part 3 was intended to be the final film in the series. The filmmakers did not foresee back then that the hockey mask would ultimately become Jason’s trademark nor was it intended to be. The decision was made in production during a lighting check where the hockey mask was placed on Jason actor Richard Brooker as the special effects crew had decided they did not want to apply make up just for the purpose of checking the lighting, therefore the entire thing came as a complete accident. Part 3 did receive generally negative feedback from the critics, despite grossing highly at the box office on its opening weekend. Its pretty fascinating that a well-recognized image, famous in pop culture happened by accident in a film that wasn’t highly regarded or even as well-remembered as its original. However its not unusual to hear people discuss the original Friday 13th with reference to the iconic monster that is Jason Voorhees. In theory, it separates itself slightly from its two big rivals, the Halloween and  Nightmare on Elm Street franchises, where the main killers are established from the first instalments.

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A kind of moral backlash did flare up following the film’s release. Gene Siskel and Roger Ebert were the most vocal  reviewers about the disgust they harboured for the film, deeming it exploitative against women and a new low in American cinema. Ebert stated that the films portray women in films of this nature as “helpless victims” while Siskel voiced that because more of these sort of films were being frequently generated, that was the principal image of women, tortured, attacked or raped that was being depicted to the country at the time. They were incensed that audiences were identifying with the killer rather than the victims, providing a very disturbing cinematic experience for them and saw it as an attack on the women’s movement. Placing the audience in the same position of the killer had  already been done in earlier films such as Peeping Tom (1960), the difference is, when that film was released there was uproar and it compromised director Michael Powell’s career, however by 1980 this was becoming a more prominent feature of American horror films and a “trend” as Siskel and Ebert described.

Even though Siskel and Ebert raised interesting points against 1980’s horror, their views are problematic when they primarily focus on women’s role in slasher films but don’t take into consideration there are also male victims and female serial killers, especially in our beloved Friday 13th. Mrs Voorhees motive echoes back to Psycho’s legacy with the maternal instinct subtext. A mother would do anything for their child and for me, this is what the film’s ultimately getting at. But for some its hard to see passed the violent imagery in order to dig deeper regarding the film’s message. Friday 13th acted as a fable for the youth, using the horror metaphor to emphasize that actions will have consequences, the main one being sex. Siskel and Ebert felt films were simply exploiting this angle in a sleazy manner. But in Friday 13th’s case it didn’t just capitalize solely on women’s behaviour, it demonstrated how both male and female characters were so self-indulgent that they didn’t notice the death of a child. However nothing had changed from the 1950’s to the 1980’s as the youth were still engaging in the same behaviour. The young people who were oblivious to Jason’s drowning were the camp counsellors and failed to act responsibly in the situation. With the fear of AIDS and teenage pregnancy rife in society at the time, its no surprise that films were fictionalizing people’s fears for future generations and it sort of encourages the practice of safe sex and for teenagers not to be identified solely by it. Therefore I would conclude that Friday 13th is about accepting consequences and to act responsibly rather than exploiting women and their bodies in sadistic ways which is how Siskel and Ebert interpreted the film. Their reaction came across as fearful especially warning prospective audiences from seeing the film which in my view was extreme. By advising against the film and announcing its twist ending in the hope it would affect box office figures was more likely going to drive audiences towards it rather against it. Cunningham’s intention with the film was purely to scare and clearly evoking these reactions demonstrated that he did a good job.

Friday 13th was a film I adored as a gore-curious thirteen year old, however after many viewings over the years, I would argue that overall its not the most well-made film ever. Its possible that from growing up into a generation where CGI was becoming more prominent that myself and those around my age are spoilt when it comes to film. That said, I do appreciate the classics and as a horror fan I did turn to all the older films to get my fill of blood, guts, gore and ghouls even before the surge of remakes unleashed hell upon our beloved genre, the majority I usually avoid. For me old skool FX are far more appealing than CGI as they provide a raw feel and DIY approach. By that point the most recent horror movie I had seen was Final Destination (2000). After re-watching Friday 13th in 2013, I’d say it still has its merits, the glass smashing, bursting the title onto the screen accompanied by the score still gives me goosebumps and remains a powerful title sequence in horror. The kills are brutal and Pamela’s performance just makes the film for me. Its not overly scary however and comes across as comical and campy throughout featuring caricatures rather than actual characters. I don’t feel the same for the characters in this as I do for Laurie Strode, Nancy Thompson or Sidney Prescott. Arguably, Alice Hardy isn’t considered the best final girl in the franchise, Ginny Field from the second instalment occupies that title. Its barely a masterpiece or even unique but enjoyable all the same.

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What does make Friday 13th more popular than other films that came out in the same era in a similar vein?  Well, it stands out for its importance to the slasher sub-genre and the horror genre as a whole. Mark Kermode hit the nail on the head when he emphasized that the reason the film has maintained such a legacy is because it was the type of film that had never been associated with mainstream cinema before or distributed by a successful studio. It transcended seedy, violent horror from grindhouse cinemas to more commercial audiences. Kermode pin points that at the time this was a “novelty” but since then has been done over and over again. But back in 1980 this movie did something special for the genre. Horror wouldn’t be horror without the series as its influence still carries on to this day.

So, why should you take a trip to Camp Crystal Lake this Halloween? Well, for one its a classic and a must-see for any horror fan, its interesting as a film for its significance on mainstream horror cinema, its suspenseful with some cool, memorable death scenes, an arrow through through the throat and the axe to the head are personal favourites and who could forget Mrs Voorhees beheading! It features a female serial killer which was revolutionary for its time and it began a legend.

Hayley Alice Roberts.

SOURCES:

Teenage Wasteland: The Slasher Movie Uncut by J. A. Kerswell (2010).

http://www.fridaythe13th.wikia.com

Cult Classics: BACK TO THE FUTURE (1985)

Posted in Old Non Horror Reviews with tags , , , , , , , , , on February 8, 2012 by Hayley's Horror Reviews

I lost my “Back to the Future” virginity last night!!!

No longer will I face reactions of disbelief from admitting its a movie that in my 22 years of existence I have never seen. However I do wonder why it has taken me this long to view this classic piece of awesomeness.

Rob Zemeckis “Back to the Future” is a blend of genres from science fiction, adventure, comedy, and romance that can be enjoyed by all ages! It is evident why the film carries so much adoration and popularity as ultimately it tells the classic story of the underdog with the message “stand up for yourself and don’t let others walk all over you”, this is a very positive outlook especially for young people dealing with the traumas of high school and searching for an outlet.  Protagonist Marty McFly (Michael J Fox) embodies these notions as well as representing a strong role model and the kind of friend everybody would love to have. There is a feeling of satisfaction present in  the moments where Marty stands up to the school bully as well as the teenage version of his father George (Crispin Glover) following suit. . The science fiction aspects of the film are also interesting delving into and expanding the audiences imaginations; admittedly it would be so cool to go back in time, see how people lived and the cultural changes, although the impossibility of this scenario is in place in “Back to the Future” as Marty realises if he has changed anything about the past it could have severe consequences, such as him never existing!  This fantasy element acts as an escapism for the viewer in a thought provoking but also in an entertaining manner. Critics interestingly depicted “Back to the Future” as a modernised “Its a Wonderful Life” (1946) which through emphasising on the film’s message the reasoning for this comparison is clear.

The inventor character of Doc Brown has to be the film’s most larger than life entity adding a sense of quirkiness to the piece, Christopher Lloyd’s performance stands out as arguably one of the most memorable in cult film history. He is funny, likeable, entertaining and a strong figure in hero Marty’s life, mentoring him in his choices through making him and the audience understand that everything needs to happen for a reason. Despite his humorous and outlandish presence he remains a wise and vital attribute to Marty’s journey.

The versatile soundtrack captures the time periods of the 1950’s and 1980’s wonderfully from Huey Lewis and the News hits such as “The Power of Love” and “Back in Time” to 50’s ballad “Earth Angel”. For viewers unfamiliar with those times the music is in place to emphasise the era’s while orchestrating the time periods the film is conveying. Musically the stand out scene has to be Marty’s rendition of “Johnny Be Good” at the school dance as its just so damn cool and entertaining, especially the moment where he stuns the crowd with his electrifying guitar solo.

“Back to the Future” is understandably popular and still holds impact in 2012 as a timeless classic due to its versatile mix of genre’s, likeable, entertaining characters, edge of the seat science fiction, awesome soundtrack and most of all its sense of nostalgia, even for those who are new fans! Ultimately its the underlying message that stands out with Marty’s journey as a metaphor: never be afraid to stand up for yourself but also handle the consequences of your actions. “Back to the Future” definitely holds the feel-good factor and no doubt will be watched by generations to come!

Hayley Alice Roberts

A Portrait of Margaret Thatcher: “The Iron Lady” (2011)

Posted in Old Non Horror Reviews with tags , , , , , , , , on January 26, 2012 by Hayley's Horror Reviews
  • Directed by Phyllida Lloyd
  • Screenplay by Abi Morgan

“The Iron Lady” as a title for the portrayal of Britain’s longest-running Prime Minister Margaret Thatcher in itself is ironic. Viewing through the eyes of someone who did not experience the conservative society of the 1980’s the film presents an image of a strong-willed yet sympathetic feminist icon during the political aspects of the film. However the majority focuses on Mrs Thatcher’s mental decline in recent years; therefore is it a story of an elderly woman and her family coming to terms with mental illness rather than the achievements and mistakes of one of the most influential leaders in history? Although what can be said is Meryl Streep who takes on the main role does a stunning job at re-creating the 2oth Century’s most loved yet most hated political figure in appearance and in mannerisms. As a protagonist she engages the audience in a wave of empathy as she recalls her days in parliament and how she got there while struggling with day to day life. The fact that controversy has been generated surrounding the film is no surprise as opinion has always accumulated a divide among the public when it comes to Thatcher. Its fair to say and understandable that her real life children Carol and Mark were against the film’s production describing it as a “left-wing fantasy”. Perhaps a film in general on Margaret Thatcher has been released too soon, taking into consideration the woman is suffering with dementia to this day does ignite a sense of disrespect. Despite this it was an interesting approach at portraying the time through Thatcher’s perspective. Many films such as Shane Meadows “This is England” (2006) showed how the government policy’s and war affected the working classes therefore in terms of viewing history it proved insightful and different.

The main issues as in the Miners strike and the Falklands War are touched on depicting Thatcher’s reactions, one of the most poignant scenes being where she decided to write to all the casualties families of the Falklands. Due to the main focus being on Thatcher’s later decline the political issues weren’t given a lot of depth. This acted as a shame for the film-makers as concentrating on the impact of these historical events and how she dealt with them as Prime Minister had the potential to create something much more powerful rather than personal.  The use of the real footage from the time did provide an impact, reminding the audience of the reality of what was happening and adding grit to the piece. At times by showing her vulnerable side it was as if the motivation of the film-makers was an attempt at endearing her to the public after all these years. An alternative approach to the narrative with removing the flashbacks would have been effective taking the audience through the beginning of her life, what led to her ambition, her time in parliament then closing on her resignation allowing a fascinating depiction of 1980’s history.

For what “The Iron Lady” does convey is an emotional story with a thin historical backdrop, however depicting the personal nature of a human being’s mental state especially the hallucinations of her late husband Dennis (Played by Jim Broadbent) made an uncomfortable watch. Its strength lay in the way it acted as a vehicle for feminism through the message of never giving up and fighting for your beliefs. Thatcher was brave to stand up and fight to get where she wanted to be in a male-dominated world and succeeding. The film does overall give out a mixed reaction through being interesting on one hand and distasteful on the other, but there is no denying Meryl Streep’s performance was touching and engaging and ultimately carries the film.

Hayley Alice Roberts.