I segreti di Osage County

I saw the Broadway production with Estelle Parsons (Violet); John Cullum (Beverly); and Elizabeth Ashley (Mattie Fae) in 2008. I had read the play prior so I knew the surprises but it didn't take away from the play. The film does justice to the story even with forty minutes edited out of time. The film casting here is perfect but I wonder what the original cast would have added to the film adaptation. While Meryl and Julia earned their nominations, I felt that Deanna Dunagan and Amy Morton deserved their chance on the big screen as Violet and Barbara. Margo Martindale did a fine job as Mattie Fae but Rondi Reed would have been the original. While the film stays true to the story, Meryl is believable as the toxic Violet Weston. Julia Roberts has matured as an actress and can stand in a scene with Streep or anybody else. The film and stage version is not for immature audiences as the writer touches on sensitive subjects. The stage production featured a three story set where it can be difficult for a community theater. The film doesn't need to worry about that issue. The film moves through at a good pace but you wonder about what happened to the family after.

It's Osage County, Oklahoma. Violet Weston (Meryl Streep) has quite a mouth and the mouth cancer to go with it. She's crass, addicted to painkillers, and the bitter matriarch of the dysfunctional family. Her youngest daughter Ivy (Julianne Nicholson) is still close by dutifully helping out but easily dismissed by Violet. Her sister Mattie Fae Aiken (Margo Martindale) keeps sticking around with her husband Charlie (Chris Cooper). Favorite oldest daughter Barbara (Julia Roberts) has returned with her separated husband Bill Fordham (Ewan McGregor) and daughter Jean (Abigail Breslin). Violet's husband Beverly (Sam Shepard) has enough of the her difficulties and walks off. He is found drowned and the family gathers for the funeral. The middle daughter Karen (Juliette Lewis) returns with new fiancé Steve Huberbrecht (Dermot Mulroney). Little Charles Aiken (Benedict Cumberbatch) is the loser son of Mattie Fae and Charlie who overslept for the funeral.

There are a lot of great actors doing Oscar caliber work. The best thing director John Wells does is to point the camera and let these actors work. Meryl Streep is the master, and there is no way to describe her work with justice. Julia Roberts kept up with her and that is high praise for any actor. Every person in the cast deliver some of their best work. Writer Tracy Letts' play is all the same tone. That is the movie's biggest drawback. It is all vile and all bitterness. It is the same tone over and over again. It is overkill without any letup. I just enjoyed it for the performances.

Though nearly 40 minutes of Tracy Lett's Pulitzer Prize winning dramedy have been shaved for the screen version, "August: Osage County" still manages to deliver on the towering play's hearty laughs, gasp inducing shocks, and well earned tears.

While it is hardly the best adaptation of a play to a film, as much of the film still retains it's indoor, staging setting, it is boosted by some sterling performances of actors at the top of their craft. Chris Cooper and Margo Martindale are stellar, playing off each other with deft and precise timing. Julia Roberts has not had this good of a role in... ever, and she mostly delivers. Julianne Nicholson is both quiet yet fiercely determined as middle daughter Ivy. Sam Sheppard is amazing in the even more truncated role of the Weston family patriarch who goes missing, and Misty Upham is so good with so little to say as the young Indian woman, Johnna, tossed into a family in turmoil.

Of course the turmoil is led by the Medea-of-the-Midwest, Violet, played for every ounce by Meryl Streep in one of her most indelible performances ever. While viewers will surely be talking about the "infamous" post funeral dinner scene, the price of admission should be had for Streep's monologue late into the "second act," where she sits with her daughters on a swing set and discusses the worst Christmas ever: an acting class with the full gamut of emotion.

Viewers may be equally divided by spending 130 minutes with such unhappy people, but there are plenty of dark laughs in Letts' screenplay to alleviate the tension. And with actors these good interpreting the parts, "August: Osage County" is easier to swallow than some awkward family dinners we've all had to attend at some point in our lives.

I actually enjoyed this movie version better than the way over-praised stage play it is based on. Saw the play at the National Theatre with most of the original New York cast and found it obvious and sit-com my. Oddly the film which by the way has lost all the laughs the play engendered, presents a much more serious and grim portrait. Meryl the magnificent is not so magnificent in this though she at times grasps the inner feeling of the mother. Unfortunately, she also tends to go way over the top a few too many times. Julia Roberts has been directed in a more angry and vindictive manner than the original Tony winning actress I saw on stage. I always love Julia but this is not her most pleasant role. The humor has been left on the stage and not made its way to the screen. At least the film avoids the glib, "oh, look at me, I am so clever" feeling of the play.

Greetings again from the darkness. Tracy Letts had a very nice year in 2008. He won the Pulitzer Prize and a Tony for writing the play August: Osage County. Since then, he has also written the play and screenplay for Killer Joe, and been seen as an actor in the key role of a Senator in the TV show "Homeland". This time out, he adapts his own play for director John Wells' (The Company Men, TV's "ER") screen version of August: Osage County.

With an ensemble cast matched by very few movies over the years, the screen version begins with what may be its best scene. Weston family patriarch and published poet Beverly (the always great Sam Shepard) is interviewing Johnna for a position as cook and housekeeper when they are interrupted in stunning fashion by Violet (Meryl Streep), Beverly's acid-tongued wife who is showing the effects of chemotherapy and her prescription drug addiction. This extraordinary pre-credits scene sets the stage for the entire movie, which unfortunately only approaches this high standard a couple more times.

Despite the film's flaws, there is no denying the "train-wreck" effect of not being able to look away from this most dysfunctional family. Most of this is due to the screen presence of a steady stream of talented actors: in addition to Streep and Shephard, we get their 3 daughters played by Julia Roberts (Barbara), Julianne Nicholson (Ivy) and Juliette Lewis (Karen); Ewan McGregor and Abigail Breslin as Roberts' husband and daughter; Margo Martindale (Violet's sister), her husband Chris Cooper (Charles) and their son Benedict Cumberbatch.

As with most dysfunctional family movies, there is a dinner table scene ... this one occurring after a funeral. The resentment and regret and anger on display over casseroles is staggering, especially the incisive and "truth-telling" Violet comments and the defensive replies from Barbara. As time goes on, family secrets and stories unfold culminating in a whopper near the end. This is really the polar opposite of a family support system.

Meryl Streep's performance is one of the most demonstrative of her career. Some may call it over the top, but I believe it's essential to the tone of the movie and the family interactions. Her exchanges with Julia Roberts define the monster mother and daughter in her image theme. They don't nitpick each other, it's more like inflicting gaping wounds. Surprisingly, Roberts mostly holds her own ... though that could be that the film borders on campy much of the time. Streep's scene comes as she recalls the most horrific childhood Christmas story you could ever want to hear.

It must be noted that Margo Martindale is the real highlight here. She has two extraordinary scenes ... each very different in style and substance ... and she nails them both. Without her character and talent, this film could have spun off into a major mess. The same could be said for Chris Cooper, who is really the moral center of the family. While the others seem intent on hiding from their past, he seems to make the best of his situation.

The film never really captures the conflicting environments of the old Weston homestead and the wide open plains of Oklahoma. The exception is a pretty cool post-funeral scene in a hayfield where Roberts tells Streep "There's no place to go". The main difference between the film version and stage version is the compressed time and the decision to include all explosive scenes. There is just little breathing room here. Still, it's one of the more entertaining and wild dysfunctional comedy-dramas that you will see on screen, and it's quite obvious this group of fine actors thoroughly enjoyed the ensemble experience.