In a one-woman show with archival films in the background, an almost unrecognizable Valerie Harper plays a dozen characters that cross paths with former Israeli Prime Minister Golda Meir. The focus is on the 1973 war, which Israel almost lost, and how Ms Meir succeeded in getting the armaments she needed from U.S. Secretary of State Henry Kissinger.... (Full plot summary below)
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In a one-woman show with archival films in the background, an almost unrecognizable Valerie Harper plays a dozen characters that cross paths with former Israeli Prime Minister Golda Meir. The focus is on the 1973 war, which Israel almost lost, and how Ms Meir succeeded in getting the armaments she needed from U.S. Secretary of State Henry Kissinger.
Leave your thoughts about Golda's Balcony.
| Village VoiceElla TaylorJeremy Kagan's excellent adaptation of William Gibson's stage play. |
| rec.arts.movies.reviewsMark R. LeeperPowerful and well-acted even if there are stylistic glitches in the presentation. |
| WBAI Web RadioPrairie MillerThis shamelessly uncritical view of Golda, her world perspective, and the period of Middle Eastern history over which she presided as a major player, confuses the protagonist's point of view with the reality. Grandmother or godfather? |
| TV Guide MagazineKen FoxFortunately, no amount of optical wizardry and quick-change trickery can disguise the fundamental power of Harper's performance, a revelatory turn that's truly transformative in every sense of the term. |
| www.susangranger.comSusan GrangerNot only is this poignant portrait of Golda Meir riveting and powerful, it also reminds and enlightens us about the origins of the current Middle East conflict. |
| Boxoffice MagazineAmy NicholsonThe brink of annihilation looks like a low-budget music video. |
| Monsters and CriticsRon WilkinsonA good performance of a landmark Broadway play will barely be enough to bring audiences to this one. But the history alone is worth the price of admission. |
| New York Daily NewsElizabeth WeitzmanOnce again, we chart the growth of a woman and a country at the same time, a tough assignment that Harper tackles with humor and passion (even if her Kissinger impersonation could use a little work). |
| VarietyRonnie ScheibKagan's green-screen filmization, in its over-busy editing, ever-changing angles and constantly shifting backdrops, strips the play of its starkness, leaving disproportionate schmaltz and propaganda. |
| New York PostV.A. MusettoHarper and the film's director, Jeremy Kagan, try valiantly, but they are unable to bring Meir to life or hold viewers' attentions. |
