Lembranças de Hollywood

Postcards from the Edge (1990)

Mike Nichols is as close to a William Wyler as the New Hollywood (post-1967) gives us. His movies are both impeccable and emotionally taut. They feature the very best production values and impressive acting. And they take chances carefully, which isn't actually an oxymoron. Nichols knows he's pushing boundaries, but within the established forms. Even this movie, with its insider look at Hollywood, feels ingenious in a safe way, with echoes of "The Bad and the Beautiful" but with everyone toned down to a perfect realism.

One of the tricks of this movie, which is a little over the top in so many small ways (again, careful restraint all around), is keeping the acting believable. And foremost is Meryl Streep, lovable and sympathetic but not quite admirable or otherworldly the way older generation actresses so often get portrayed. Streep as a drug-troubled actress is a wonder, and right behind, with deliberate hamminess, is the woman playing her mother, Shirley MacLaine. Add Gene Hackman and Richard Dreyfuss in smaller roles, a cameo by Rob Reiner, and a pretty boy role for Dennis Quaid, and you can see there is something cooking here.

So why isn't this a great movie? It has the trimmings of greatness, even beyond the acting. Story by Carrie Fisher, music written by Carly Simon (and performed by the cast). Photography by German import Michael Ballhaus (who by the 1990s was also working for Coppola and Scorcese).

Well, some might say it really is great. Even though it is lightweight, even airy as a farce, and even though it leaves you only slightly glad, or happy, at the end rather than transformed, you could argue that Nichols intended something with this flavor, and achieved it. Could be. But for a simple example, take his second movie, "The Graduate," and notice the same tone, humor and irony laced with important topical and emotional strains. How different the effect there, and maybe for a couple of reasons. One, I think, is the subject matter here is the famously glib, plastic, unsympathetic world of overly rich, tabloid saturated Hollywood itself. Another is the inherent plot. What happens? A woman overcomes her addiction to star in another movie, and she seems to move a little forward in her relationship with her mother. Enough? Maybe not.

But knowing it's not trying to change the world, you might appreciate the illusory nature of the medium, exposed for us in a whole bunch of different ways (moving props, back projection, doubles used for blocking and framing, lights and camera in action, screening rooms and overdubbing, and so on. This is the stuff behind the drama enacted by Streep and MacLaine and the rest. It's worth watching in its own right.

And Nichols and Ballhaus have filmed this to glossy perfection, layering and moving and keeping the long takes going as long as possible (with an apology by Hackman, as a movie director, to Streep, the actress playing the actress, for using such long takes all the time). It's almost as if Nichols is making fun of himself, and the excesses that cause the cast and crew to go a little crazy.

Brilliant and entertaining? Completely. Probing or socially satirical in any way? No, not even into Hollywood, which is safely behind all these layers. Still, a film not to miss.

Shirley MacLaine is only 12 years older than Meryl Streep but played Streep's Movie Star mother -to a fare thee well. Closely resembling the real life story of Debbie Reynolds and her daughter Carrie Fisher this film has lot of inside baseball about Reynolds and Fisher. Ms. Streep is as always brilliant as the tormented "Carrie" and Ms. MacLaine is superb as "Debbie". Liked Gary Morton as the agent. Gene Hackman, Dennis Quaid, Richard Dreyfuss, and Annette Bening give fine support to the Stars. Mary Wickes is priceless as Shirley's Mother much resembling the real Mom of Debbie Reynolds if you read Debbie's book.

Mike Nichols deserves credit for brining this story to the screen and even has a great windup with Streep singing over the credits. Is there anything Ms.Streep cannot do?

Shirley MacLaine belts out Sondheim's great song of survival "I'm Still Here" and no doubt Shirley MacLaine is still here with over 50 years a Great star working with great Directors such as Wilder, Hitchcock, Wyler, and co star with Eastwood, Lemmon, Sinatra, Bancroft, Newman, Hepburn, Garner, etc, etc. etc.

Meryl Streep is just about the best actress around and this, I think, is one of my favourite performances by her. (so far). Why? Because she is not playing her usual self -- she is a total nut case in this film --- neurotic and downright hilarious. Much like 2002's "Adaption" she is playing against her normal dramatic type and is a wonderful comedienne -- a role she should play more often --- actresses usually playing actresses usually are not memorable --- this is a "keeper" role --- and what a voice. (had she not been an actress, she could give most singers these days a run for their money!) Do rent it and laugh --- it is worth the trip to the video store!

Postcards From The Edge is one of my all-time favorites. It's a truly addictive movie that's always funny and touching no matter how many times I see it. Some of the criticism I've read have always seemed just a tad off base, particularly the ones that say that Streep never seems to get a handle on her character--she just acts kind of comically frazzled. Well I think that's the point, isn't it? Streep as Fisher doesn't know what she wants or who she is, and while trying to discover these things, she must battle her drug dependence, rebuild her career against all odds and hope, in addition to trying to reconcile her relationship with her outlandishly domineering mother, who just happens to be a legendary star with issues of her own. In this scenario, "frazzled" would seem to be the way to go.

In any case, those who have commented positively on the movie have mostly mentioned the great performances (as well as Carrie Fisher's wonderful screenplay), and rightly so since this is one the most smartly acted (and well-written) movies you will ever see. But it seems strange that the outstanding direction of Mike Nichols is rarely mentioned. I remember one Oscar ceremony when a producer whose movie had just won Best Picture, and, indeed, swept all the major awards--except Best Director--said "apparently the Academy thinks that the actors directed themselves." It would seem that many of the viewers of Postcards From The Edge think the same thing. In my opinion, Nichols doesn't get enough credit for the seamless way this movie moves or for the crispness of the comic timing. At every turn, he brings out the best in his actors, most especially in the dynamic scenes involving Streep and McLaine. I also love the way he shows, through shifting background effects, how movie illusions are created, which he further uses to illustrate how we often hide our true motivations. (The great example of this is in the scene on the lot with Streep and Dennis Quaid where he was trying to convince her he has always been sincere in his feelings for her--and maybe they should even marry. Then suddenly the background, a house and white picket fence cardboard front, is moved away by a production crew.)

This is a wonderfully entertaining movie, brilliantly acted and written and, yes, superbly directed.

Luke Skywalker is not the only member of the Star Wars gang with parent issues. Carrie Fisher, the actress who played Princess Leia, channeled hers into a novel that became another winning Mike Nichols domestic comedy, "Postcards From The Edge."

Meryl Streep stars as Carrie alter-ego Suzanne Vale, a once-successful actress trying to restart her career after a near-fatal O.D. Her mother, a screen legend in her day named Doris Mann (Shirley MacLaine), happily takes on the responsibility of overseeing Suzanne's recovery, especially given the attendant oversight she gets on daughter's life and career.

"I really hate that you have to go through this," Doris sighs upon visiting her daughter in the rehab clinic. "I wish I could go through this for you." MacLaine gives, frame for frame, the best performance in the film, one of her best ever. She and Streep seem to feed off the best aspects of each other's prior screen work, Streep picking up on MacLaine's sass and comedic chops, MacLaine on the way Streep can give you a sea of sadness through just a flickering gleam in her eyes.

Streep's comedy turn is the big surprise here, especially given how successfully she pulls it off. No dingoes running off with babies in this production. Nichols helps by putting her in situations that are very un-Streepish, like being threatened by cheesy "Scarface" extras or inhaling Fritos. Whatever the props, Meryl herself makes me laugh, something I never expected. Not that she lays back. Her gift for inhabiting others' skin is on fine display, as she gives Suzanne Carrie Fisher's wry intonations and wan half-laugh.

You can hear the connection on the DVD commentary; a candid, amusing piece by Fisher in which she explains the background of "Postcards," why she considers it "emotionally autobiographical" in the way it deals with her own past drug issues and especially her relationship with her movie-star mother, Debbie Reynolds. At the same time, it's fictional in many key details.

Fisher's clever Hollywood-dream-factory send-up of a script gives MacLaine and Streep plenty of great lines that pop off the screen like cherry bombs. "Instant gratification takes too long," Suzanne whines. "I know you don't take my dreams seriously, even when I predicted your kidney stones," crows Mom.

The film does get rather pat in the second half, especially when both bond by rounding on Suzanne's ancient grandmother (Mary Wickes). Given that Suzanne's the central character, and the one with the drug problem, more effort should have been made on exposing her flaws and weaknesses, rather than making her seem the most normal character in the story. Fisher makes this point herself in her commentary, wishing she was "tougher" on Suzanne.

"Postcards" is most effective when it focuses on the paradox of how these people perform so well in the limelight and so clumsily outside of it. "We're designed more for public than for private," is how Suzanne puts it at one point. Some comments here complain of too many musical numbers, but of course entertaining is what these women live for. Watching Suzanne watch her mother sing "I'm Still Here", realizing for an instant that a throwaway line in the song is really a cry of pain over Suzanne's way of life, and finally responding, silently but in a nakedly emotional way, communicates all you need to know about how much these two people love each other, beneath their banter and blame.

Such subtle touches allow Streep, MacLaine, and Nichols to keep the longer dialogues crisp and funny. You may have a hard time understanding the lives these people lead, but you will enjoy their company.