Incredulous, that the Equal Rights Amendment to the United States Constitution has yet to be ratified, after decades of crusaders pulverized opponents, attaining notoriety on an unprecedented scale: “Mrs. America” focuses on feminine forces, both yeas and nays, in this fascinating dissection of the female arena, framework of women grabbing control of their lives, thus enabling gratification to those who followed. This miniseries, presciently written, imbued with unparalleled performances; a historical expose of gender politics in the 60’s and 70’s, refreshingly delivered by actors:
Cate Blanchett, Phyllis Schlafly (1924-2016) gives a stunning portrayal of a conservative politician and founder of “Stop E.R.A.” Blanchett scores as a brilliant, possibly misguided, woman, homemaker, fighting to hold on to beliefs, that would never have, or will be denied. Rose Byrne clones Gloria Steinem (1934-), feminist spokeswoman, founder of New York magazine; Tracey Ullman is frighteningly fabulous as Betty Friedan (1921-2006), author of 1963’s “The Feminine Mystique”; equally prophetic is Margo Martindale depicting Bella Abzug “Battling Betty” (1920-1998); Uzo Aduba captures Shirley Chisholm’s (1924-2005) meteoric assent as the first African American congresswoman and the first major-party black candidate to run for president in 1968. Women of substance, worthy of remembrance.
“THE BAKER AND THE BEAUTY” (NOT TO BE CONFUSED WITH U.S. VERSION)
Sensationally silly, initially I questioned my judgment, but with each nonsensical episode, realized it was the perfect antidote to the Covid-19 coup d’etat. Director Oded Ruskin’s, fluffy, fun rom-com, stars Aviv Alush a Yemenite baker, “Amos” who falls desperately in love with international model “Noa Hollander”, exquisitely sculpted Rotem Sela; topsy-turvy situations involving his irritating family, especially his brother and mother, Noa’s agent “Tzvika”, (Mark Ivanir) accolades for the most fascinating, compelling character, keep viewers in suspense, unsure if the “odd” couple, topple the obvious odds. A surplus of Jewish schtick, hollering, strident, overbearing women, especially trying is Amos’s ex, “Vanessa” (Hila Saada) a bovine parasite, refusing to recognize she is outclassed in very attribute when juxtaposed against Noa; predictably, eventually, she clenches our empathy. A sugary repast in a tsunami of uncertainty.