Reception
In his review in The New York Times, Vincent Canby said the film "has much of the manner of a television docudrama, ultimately being a rather comforting celebration of personal triumph over travails so dread and so particular that they have no truly disturbing, larger application. Yet A Cry in the Dark is better than that, mostly because of another stunning performance by Meryl Streep, who plays Lindy Chamberlain with the kind of virtuosity that seems to redefine the possibilities of screen acting . . . Though Sam Neill is very good as Lindy Chamberlain's tormented husband, Miss Streep supplies the guts of the melodrama that are missing from the screenplay. Mr. Schepisi has chosen to present the terrible events in the outback in such a way that there's never any doubt in the audience's mind about what happened. The audience doesn't worry about the fate of the Chamberlains as much as it worries about the unconvincing ease with which justice is miscarried. Mr. Schepisi may have followed the facts of the case, but he has not made them comprehensible in terms of the film. The manner by which justice miscarries is the real subject of the movie. In this screenplay, however, it serves only as a pretext for a personal drama that remains chilly and distant . . . As a result, the courtroom confrontations are so weakened that A Cry in the Dark becomes virtually a one-character movie. It's Mr. Schepisi's great good fortune that that one character is portrayed by the incomparable Meryl Streep."
Roger Ebert of the Chicago Sun-Times observed, "Schepisi is successful in indicting the court of public opinion, and his methodical (but absorbing) examination of the evidence helps us understand the state's circumstantial case. In the lead role, Streep is given a thankless assignment: to show us a woman who deliberately refused to allow insights into herself. She succeeds, and so, of course, there are times when we feel frustrated because we do not know what Lindy is thinking or feeling. We begin to dislike the character, and then we know how the Australian public felt. Streep's performance is risky, and masterful."
In the Washington Post, Rita Kempley said, "Streep - yes, with another perfect accent - brings her customary skillfulness to the part. It's not a showy performance, but the heroine's internal struggle seems to come from the actress' pores. Neill, who costarred with Streep in Plenty, is quite good as a humble, bewildered sort who finally breaks under cross-examination."
Variety made note of the "intimate, incredible detail in the classy, disturbing drama."
In June 2008, the American Film Institute revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. A Cry in the Dark was acknowledged as the ninth best film in the courtroom drama genre.
The line from the Lindy Chamberlain character, "The dingo took my baby", sometimes incorrectly rendered as "A dingo ate my baby", became part of pop culture after the release of the movie, appearing on such shows as Seinfeld, The Simpsons and Buffy the Vampire Slayer. The quote was nominated for AFI's 100 Years...100 Movie Quotes.
Read more about this topic: Evil Angels (film)
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)