The portrayal of the young-to-middle-age O'Keeffe is decently acted by Joan Allen. She lacks a certain Midwestern quality, however, despite her pluck in standing up to Stieglitz. As for Jeremy Irons' take on Stieglitz, the photographer himself couldn't have given a better performance.
But back to Allen as O'Keeffe. It's no picnic portraying an icon. And O'Keeffe is an icon -- self-made and fashioned by Stieglitz, with and without her permission. And while Allen's effort is worthy, I say let O'Keeffe's work speak for her. She always dismissed her ability with words, preferring instead to "speak" through her art.
Two quibbles: In the opening credits, an establishment shot of a New York City street scene unaccountably gives away the actual location as Chicago -- the city's distinct flag clearly is visible fluttering above the parked period cars. Later, when O'Keeffe and Stieglitz take up residence in the Shelton Hotel on New York's Lexington Ave, an establishment shot again uses an exterior shot of Chicago -- this time the city's Board of Trade building at the foot of LaSalle Street. Both boo-boos likely are the result of a made-for-TV budget.
But back to Allen as O'Keeffe. It's no picnic portraying an icon. And O'Keeffe is an icon -- self-made and fashioned by Stieglitz, with and without her permission. And while Allen's effort is worthy, I say let O'Keeffe's work speak for her. She always dismissed her ability with words, preferring instead to "speak" through her art.
Two quibbles: In the opening credits, an establishment shot of a New York City street scene unaccountably gives away the actual location as Chicago -- the city's distinct flag clearly is visible fluttering above the parked period cars. Later, when O'Keeffe and Stieglitz take up residence in the Shelton Hotel on New York's Lexington Ave, an establishment shot again uses an exterior shot of Chicago -- this time the city's Board of Trade building at the foot of LaSalle Street. Both boo-boos likely are the result of a made-for-TV budget.