Customer Reviews

Julia [VHS]

5 star:		(34)
4 star:		(13)
3 star:		(5)
2 star:		(2)
1 star:		(4)

 

 

Fact or fiction, or a combination of both, taken on its own terms as a movie, Julia is astonishing and effective. The attention to detail in costumes, set decorations, props, locations dazzle you and place you squarely in another time and place. The performances, particularly the intimate friendship between Fonda as Hellman and Redgrave as Julia, blow you away. Redgrave embodies this brilliant character with knowing subtlety; you get the feeling she is Julia to some degree, and probably is. The exploration of adult friendship in a time of peril finds its center in a well-crafted suspense story that only ever hints at real danger, yet it is the slow and deliberate revelations regarding Julia's fate that provide tension and heartbreak. This is a purposely artful film, with its share of indulgence, but each one works as a part of a lovely whole. And the world Helman created in her story -- with its rich characters, both real and imagined -- is created here with an evocative freshness. Like a memory you love to call upon, this movie works best in total silence, except perhaps rain falling outside. Let it take you away.

Too bad this one's out of stock, but worse was that the poltical backlash Vanessa Redgrave's Best Supporting Actress acceptance speech detracted from the film's importance. Despite that, "Julia" may well be the best work in Redgrave's and Jane Fonda's impressive bodies of work. For the latter, the film launched the socially-themed works that followed, and Fonda may well have come of age in this one. She plays writer Lillian Hellman to Redgrave's title character, an upper-class rich kid who grows into social activist and lays her life on the line to smuggle condemned Jews from the death camps of Hitler's Third Reich. Redgrave is superlative, and Fonda is rivting as Julia's childhood friend who gradually comes to recognize the evil unleashed by man on man at the time. As Julia's long-time lover, Dashell Hammitt, the late Jason Robards nailed down one of his back-to-back Supporting Actor Oscars ("All the President's Men" was the other), and the raw talent of the Fonda-Redgrave-Robards package helps make "Julia" one of Fonda's best works. The importance of the film's subject matter is so overwhelming that it easily displaces the Vietnam-related controvery that dogged (and may still) Fonda through the '70s and the unpopular words Redgrave used in her Oscar acceptance speech (she was literally booed off the stage). Far from a "chick flic," "Julia" is an important film that delves into but one relam in the darkest of human history, and it's earned a lofty spot among films of its genre.

"Julia" is a truly marvelous film; literate, fascinating, fun. Its DVD release (finally due on 2/7/06) should serve as a welcome addition to any DVD collection. Jane Fonda and Vanessa Redgrave are spellbinding as devoted girlhood friends who face a dangerous test, with ultimately devastating consequences, together. Meryl Streep makes her film debut here; both Redgrave and Jason Robards won Best Supporting Oscars for their roles. Fonda was also nominated (much deserved), as was the film itself - undoubtedly one of the best pictures of 1977. My suggestion? Buy it.

Hellman had a childhood friend (Alice) that grew up and died in the Vienna riots, 1934. (An Unfinished Woman, chapter four). Obviously, this is what inspired the Chapter....Julia... in her later book. So the story is probably true to the point where they charged the students...and the newspaper headline that follows. Scenes at the hospital were probably made up as her friend, Alice, died in the riots. The train trip was probably made up , but she did go to Moscow.

The story of her life with Hammett is completely believable even though locations may have been changed. Her relationship with Dorothy Parker, and the trip to Paris....look to be true. The later part of the movie as to how she dealt with Julia's body could have well been true...but happened immediately after the Vienna riot.

The part where Hammett says...."You'd better tear that up.." happened later in her life in regards to the play..."The Autumn Garden" and not in relation to her first play.."The Children's Hour".

The movie, the story...very well done. Fonda, Redgrave, and Robarts...all excellent.

If you really want to enjoy this movie. I suggest you do the following reading. Hellman's three books....plus her play ..."The Children's Hour". Read about Dorothy Parker, I believe there is a book "The Life and Times of Dorothy Parker." I can not recall the title exactly. It's the times of the 30's that is really interesting to me and frames this story superbly.

A wistful, compelling story about the power of female bonds and friendship. Fonda has never been better, Redgrave is luminous as the idealistic Julia, and Jason Robards conveys a worn assuredness as Hellman's husband, writer Dashiell Hammett. Zinnemann's handling of period detail in 1930s New York and Berlin is exquisite, and the film rightfully earned 11 Oscar nominations. A personal favorite.

I saw this movie when it was originaly shown in the cinemas and had it at the top of my wish list for two years now. At last it arrived and I now see it in a much different light and its messages maybe even more revelant than it was when it was released.It fully deserved the three oscars. Movie making doesn't come much better than this.

Decades had passed before it was known that Hellman hoodwinked the literary public with her story of Julia in 1974. It is now known that the actual 'Julia' was a political activist named Muriel Gardiner. Hellman never knew Gardiner, nor did Hellman smuggle money into Germany, or look for Julia's missing child during the war. Visa documents state that Hellman was in Spain for the 3 year period that the Julia story was supposed to have happened. It is believed that Hellman heard about the original story of Gardiner from their mutual attorney in New York, who told Hellman about his remarkable client who smuggled money and passports into Germany to buy political prisioners their freedom at the onset of the war. Hellman took the fascinating story of Muriel Gardiner and wove it into her own false 'recollection' of the events and thus wrote 'Pentimento' as her own memiors, which of course was primarily a contrivence and fabrication. Many notable writers considered Hellman a fraud and liar, and this is but another account of her deception and incredulity. If you want to know the REAL story of "Julia" get a copy of Gardiner's autobiography 'Code Name Mary'. I got my copy through Amazon.
Although Hellman's account of 'Julia' is mostly fiction held together with a few threads of truth, it is still a fascinating story and a beautifully made film. Fonda is utterly marvelous...it is one of her best works. In fact, the film 'Julia' is one of my top 3 all time favorites. You need to see the movie and then get the book "Code Name Mary" and decide for yourself!

Its a great movie.The actors are great.
The best performance came from Maximilian Schell
as "Johann",he gave a stunning portrayal of a man
with ideals in the Naziregime.Strong Turns also
by Jane Fonda and Vanessa Redgrave.For me as a german
are this kind of films very important.

PS.
A nice debut from Meryl Streep

This has been a favorite film since my first viewing when it was initially released. The tension of the times and the quality of acting combine to reflect Hellman's personal experience. I wanted to add it to my very select library of film, now available on DVD.

Too bad this one's out of stock, but worse was that the poltical backlash Vanessa Redgrave's Best Supporting Actress acceptance speech detracted from the film's importance. Despite that, "Julia" may well be the best work in Redgrave's and Jane Fonda's impressive bodies of work. For the latter, the film launched the socially-themed works that followed, and Fonda may well have come of age in this one. She plays writer Lillian Hellman to Redgrave's title character, an upper-class rich kid who grows into social activist and lays her life on the line to smuggle condemned Jews from the death camps of Hitler's Third Reich. Redgrave is superlative, and Fonda is rivting as Julia's childhood friend who gradually comes to recognize the evil unleashed by man on man at the time. As Julia's long-time lover, Dashell Hammitt, the late Jason Robards nailed down one of his back-to-back Supporting Actor Oscars ("All the President's Men" was the other), and the raw talent of the Fonda-Redgrave-Robards package helps make "Julia" one of Fonda's best works. The importance of the film's subject matter is so overwhelming that it easily displaces the Vietnam-related controvery that dogged (and may still) Fonda through the '70s and the unpopular words Redgrave used in her Oscar acceptance speech (she was literally booed off the stage). Far from a "chick flic," "Julia" is an important film that delves into but one relam in the darkest of human history, and it's earned a lofty spot among films of its genre.