Julia

Just cast an eye at the credits (Jane Fonda, Vanessa Redgrave, Jason Robards, Maximillian Schell, Hal Holbroke, Meryl Streep, John Glover and others directed by Fred Zinneman in a story by Lillian Hellman) and you know this film is worth seeing. It delivers fabulous performances by some of the best actors of our time, in a carefully -- yeah, sumptuously -- produced film directed by one of Hollywood's most respected veterans, based on a narrative by a gifted dramatist and tale-spinner.

The screenplay blends the two longest episodes in Lillian Hellman's PENTIMENTO, the third, most engaging, and most imaginative of her memoirs. It traces the (largely factual) struggle of Hellman to develop her talents as a playwright under the tutelage of her long-time lover, Dashiell Hammett, and the (largely fictional) course of her friendship with an anti-Nazi activist. The character of Julia seems to be part fantasy, part composite of women Hellman admired.

The film suffers from this blend of fact and fiction and even more from the episodic nature of the intermixed stories. In addition (and to its credit), it does not minimize Hellman's famously abrasive personality. But the characters are so compelling, the performances so outstanding, and the pacing so canny that it holds the viewer's interest for a full two hours.

A flawed but fascinating flick!

To rediscover Julia in 2017 is an absolute thrill. It was thrilling the first time round but, as it happens, nine times out of ten, thrills don't travel well. Here is the exception. Time, through Jane Fonda and Vanessa Redgrave has added an extra coat of guts and truth. They were magnificent then and they are magnificent now. As actresses, as women. The friendship of Lilli and Julia is a landmark of historical, artistic and human proportions. Fred Zinnemann, the director, clearly knew what he was dealing with, brilliantly. Julia also counts with the extraordinary Jason Robards as Dashiel Hammett and, my goodness, Meryl Streep! in a small but memorable part, making her film debut. I believe this is one of those rare films that will be relevant for ever.

This was one of the best pictures I had ever seen when it was first released, and after almost thirty years, I still think so, especially after watching the steady decline in quality of product that the film industry has turned out since.

Gorgeously photographed, costumed and written, with some of the finest acting on film, "Julia" succeeds in capturing the texture and truly world shattering issues of a time and place, Europe between the wars and on the brink of cataclysm. Everything about it shines, from the scenes of childhood in flashback to the suspenseful and tense train trip, I watch this film over and over waiting for one scene: the scene between Fonda and Redgrave in the Berlin restaurant. I just saw it again two hours ago and once again I was in awe of the acting, from both stars, some of the finest work of their careers, the direction of the scene and the spare, intense writing.

Whether the story itself was factual or not (Hellman might just have made it all up!) it works on so many levels that it's still worthy, and its truth or falsity just doesn't matter.

JULIA is a fine film. Fonda as Hellman is very good as is Robards as Dashell Hammett. But the real prize is the performance of Vanessa Redgrave as Julia. Though her part is small she is absolutely glowing as Julia. Her face is very radiant and she projects so much with her eyes. She is a great actress indeed.

Fred Zinnemann's last great movie. Based on part of Lillian Hellman's memoir, the film stars Jane Fonda as Hellman as she recounts her friendship with the enigmatic JULIA, played by Vanessa Redgrave. Fonda is a bit too pretty to be entirely convincing as the homely Hellman, but she gives a gutsy performance, playing well with Redgrave and, to a greater degree, Jason Robards, who plays Dashell Hammett. Alvin Sargent's screenplay cleverly bends time, jumping back and forth as the story of Hellman's friendship with Julia is told. Zinnemann creates a melancholy feel that's sustained throughout. The movie has a deliberate pace not usually allowed in Hollywood. The excellent music by Georges Delerue is haunting and the cinematography by the under-appreciated Douglas Slocombe is beautiful. The supporting cast features Maximillian Schell, Cathleen Nesbitt as Julia's grandmother, Meryl Streep, Rosemary Murphy as Dorothy Parker and Hal Holbrook as Parker's husband Alan Campbell. They're all terrific with the exception of Holbrook, who tries to convey a witty raconteur, but only makes Campbell out to be a real jerk.