It’s a very generous and forgiving take on Amanda, and the very opposite of a look-at-me celebrity turn. But Adams plays her completely differently: as a girlish, almost naive woman-child, a single mother who has probably damaged her children by an inability to act the responsible parent, but who isn’t fundamentally a bad sort. Matriarch Amanda Wingfield – loosely based upon Williams’s own mother – tends to be portrayed as an overbearing monster, whose suffocating love has stunted the emotional growth of her children Tom and Laura. It’s a quality that continues into her West End debut, in which she forms the understated lynchpin of Jeremy Herrin’s startlingly humane take on Tennessee Williams’s peerless 1944 play ‘The Glass Menagerie’. Amy Adams is a great actor but not a flashy one, an important distinction that’s seen her somewhat farcically lose out on each of her six Oscar nominations, and not even bag one for her greatest role as a troubled linguist in Denis Villeneuve’s ‘Arrival’.
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