The narrative is vague about its heroine’s psyche or soul, providing few clues about the meaning of Africa for Dinesen and how the exotic locale made her the kind of writer and woman that she later became.
Nor does “Out of Africa” work as a passionate love story, for two reasons. Robert Redford’s part, as the white hunter who comes and go as he pleases, is underwritten, and there is no chemistry between him and Streep. For example, the scene in which Redford shampoos Streep’s hair in the outdoors is done in such detached manner that fails to generate any heat.
The actors, usually reliable pros, seem too self-absorbed and self-contained to even notice each other. Redford’s interpretation is particularly weak for his interpretation is too contemporary (he doesn’t feel in the period) and he plays his role as yet another of his elusive and detached heroes (his screen specialty). Streep, in contrast, shows virtuosity in completely losing herself, both visually and vocally, in her reveries of remembering her past.
The movie spends too much time dwelling on the colonial mystique of Africa and not enough on the inner life of its main characters. Episodic rather than dramatic, and with cinematography which is beautiful in the manner of National Geographic, “Out of Africa” does have some redeeming qualities. A mature movie about adult characters, made for adult audiences, it stood out from the dominating teenage films at the time.
Like “The Color Purple,” the film was nominated for the largest (eleven) number of awards, winning seven, including Picture, Sydney Pollack’s direction, Kurt Luedtke’s adapted script, and David Watkin’s cinematography. (See list below) Both bloated and pretentious, “Out of Africa” can’t decide what it is about, so it goes from the indoors to the outdoor, from melodramatic explosions to exotic settings, but without any dramatic logic as guidance. It’s a diffuse movie of few powerful scenes, and many more that art just distractions for the eyes, several of them involve lion-hunting and shooting.
Somehow this epic biography about a relatively unknown author, at least to modern American audiences, became both a critical and commercial success, perhaps due to its star power.
The Banana Republic owes Italian costumer Milena Canonero a small fortune. Her Academy Award-winning designs for Meryl Streep and Robert Redford made khaki chic and spawned a far-ranging fashion trend. Newsweek dubbed it “the rugged romantic,” a look that utilized khaki, India cotton and linen in a blend of European high fashion and traditional safari wear.
Director: Sydney Pollack
Actress: Meryl Streep
Supporting Actor: Klaus Maria Brandauer
Screenplay (Adapted): Kurt Luedtke
Cinematography: David Watkin
Original Score: John Barry
Art direction-Set Decoration: Stephen Grimes; Josie MacAvin
Costume Design: Milena Canonero
Film Editing: Frederic Steinkamp, William Steinkamp, Pembroke Herring, Sheldon Kahn
Sound: Chris Jenkins, Gary Alexander, Larry Stensvold, Peter Handford
Oscar Awards: 7
The movie won all but four awards: Actress, Supporting Actress, Editing, and Costume Design.