Berlin Review: Helen Mirren in Guy Nattiv’s ‘Golda’

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Berlin Review: Helen Mirren in Guy Nattiv’s ‘Golda’
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War is coming in Guy Nattiv’s Golda, onscreen and off. But despite the media’s best efforts to turn the casting of British, non-Jewish actor Helen Mirren as Israeli Prime Minister Golda Meir into a…

as Israeli Prime Minister Golda Meir into an explosive example of cultural appropriation, both Nattiv’s direction and Mirren’s performance are low-key and careful enough to rise above the controversy. In retrospect, it does seem a little strange that no other candidate was deemed suitable, and the movie won’t do much extra business on account of Mirren’s star power, but those anticipating a tone-deaf disaster will be sorely disappointed.

, both humanizing studies of seemingly indomitable famous politicians. Nattiv, however, takes a much narrower view of his subject, using Meir’s testimony at an inquest into her government’s handling of the Yom Kippur war of 1973 as a framing device for an engrossing, if rather dry, docudrama procedural.

The shadow of Le Carré does loom large, which may be attributable to Nicholas Martin’s thoughtful script. In flashback, the drama begins with some very British espionage, with an undercover agent working in an East Finchley school sharing intelligence with another about the movement of dangerous radioactive materials. There is talk of imminent military action in the Middle East, uniting Egypt and Syria in a two-front attack on the State of Israel, both literally and metaphorically .

Mirren’s Meir smokes a lot—even between treatments for lymphoma, the disease that killed her in 1978 at the age of 80—and in these moments of quiet reflection, even in close-up, Mirren completely disappears under the prosthetics. Though she’s actually older than Meir was in 1973, Mirren has always struggled to be convincing in age-appropriate roles notably, in which she played Jim Broadbent’s dowdy charlady wife.

Key figures from past and future Israel political history come and go, notably Moshe Dayan, Ariel Sharon and Henry Kissinger , but Nattiv keeps things manageable for anyone just a passing acquaintance with the facts, which is likely to be most of the audiences in Europe and the USA. The battle scenes, likewise, are muted, mediated mostly by video monitors, phone lines and archive footage, a well-meaning strategy that unfortunately shows the limits of the film’s budget.

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