Tag: Vanessa Redgrave

 

Written by Rachael Johnson as part of our theme week on Female Friendship.

Directed by Fred Zinnemann, Julia (1977) is an exceptionally beautiful portrait of female friendship and heroism. Primarily set in the thirties, it tells the story of two interesting, gifted women, the playwright, Lillian Hellman (Jane Fonda) and anti-Nazi activist Julia (Vanessa Redgrave).

Before I look more closely at Julia, I need to briefly address the controversy surrounding its narrative source. The film’s Oscar-winning screenplay (written by Alvin Sargent) is based on Lillian Hellman’s memoir Pentimento: A Book of Portraits, specifically her account of her friendship with a childhood friend and anti-Fascist activist called Julia. The story, unfortunately, turned out to be a fabrication. The lie, of course, cheats the reader, and violates historical truth. The question remains, however, whether Julia is partly true or a blend of real historical figures. My focus, here, of course, is on the film. We can choose to write off the cinematic adaptation as fraudulent or appreciate it as a work of fiction. Julia is a fascinating, involving study of courage and its depiction of friendship persuasive and affecting. The caliber of the acting can also not be disputed. Redgrave and Fonda both give riveting, career-defining performances.

 

Although peppered with flashbacks to the women’s childhood and youth, Julia is set during their formative academic and professional years. The film chronicles the women’s personal and political lives in the decade that saw the rise of Fascism. We witness how the fight against those dark forces transforms both friends.

Lillian becomes a playwright, battles all the frustrations the profession of writing entails, and eventually achieves success and celebrity. She lives with her lover, and fellow writer, Dashiell Hammett (Jason Robards), in a beach house facing the Atlantic. An even more adventurous soul, Julia goes abroad to study medicine at Oxford and Vienna, before becoming a committed anti-Fascist activist. Although both friends are ultimately characterized as strong women with strong ideals, Julia is portrayed, from the start, as the more courageous, self-assured, and politically engaged woman. Lillian is more insecure, and human, while Julia is both resolute and ethereal. Although a fellow left-winger, Lillian is not immune to the finer things of life. Regarding class identity, Julia’s mindset is more remarkable. A child of extreme wealth, she utterly rejects the lifestyle and values of her privileged caste.

 

The flashbacks to the friends’ youth are haunting and illuminating. Even as an adolescent, Julia (Lisa Pelikan) is enraged by economic inequality and social injustice. We see her express her impatience at her friend’s conventional need to hear of her family’s trips to Europe. The young Lillian (Susan Jones) is dazzled by Julia’s affluent, cosmopolitan background and lacks her friend’s political consciousness. Lillian, in fact, worships her friend. Julia recognizes that veneration sometimes characterizes female adolescent friendship, and the actresses who play the teenage friends credibly capture that particular dynamic. Such friendships can, of course, become abusive but this is not the case with Julia and Lillian. Although the young Julia plays the dominant role, and has a patrician, prefect-like manner, she is, nevertheless, a warm, just, soul. Julia enlightens, and inspires Lillian. Crucially, she is Lillian’s heroic example.

 

The deep affection Lillian has for Julia endures and Fonda conveys her love with a remarkable candor. The scenes between the adult childhood friends are, in fact, extremely moving and beautifully played. The playwright, it must be noted, is written as a considerably complex woman. She is sensitive, vulnerable, moral and humane, as well as idealistic and spirited. Fonda’s compassionate, intense portrayal captures both her insecurities and charisma. The scenes between Lillian and “Dash” are also vividly, and tenderly performed. Robards plays Dash as a crabby, no-nonsense yet supportive mentor-lover and both actors are magnetic in their moments together. Whether the portraits of both writers are authentic characterizations is another matter but that applies to all autobiographical and literary depictions of real people, of course.

 

Julia is the most extraordinary character in the film, however. The viewer sees her, of course, to a considerable extent, through Lillian’s eyes. Preserved by memory and distance, she remains an exotic, daring figure from childhood. Julia may have a certain mythic aspect but she grows up to be a devoted, dynamic political activist and her activism is very real and very dangerous work. Julia provides us with a powerful, multi-layered portrait of female activism. Her characterization does not exhibit the customary misogynist Hollywood stereotyping of female activists as sexless, humorless and nutty. She is sexual, sane, and cerebral. She is, however, a unique human being. Most men and women of privilege crave more wealth, and there is something heroic about Julia’s decision to betray her cosseted class. Julia, indeed, is that rarest of American films, a Hollywood film with a Socialist heroine. Redgrave equally gives her character a steely yet otherworldly power and grace. It is an exquisite performance.

 

There is another outstanding female performance in Julia. A young Meryl Streep gives one of the greatest scene-stealing cameos in Hollywood history as Anne-Marie, a socialite friend of both Julia and Lillian. It was, in fact, Streep’s very first film performance and her ability to fully inhabit roles is already on display. Her character typifies the kind of woman Julia in particular could have become, a spectacularly self-regarding, superficially charismatic woman of privilege.

 

Our friends choose a tougher track. When their lives intersect as adults, Julia asks Lillian to perform a courageous act. It will test Lillian but it should also be seen, in a way, as a gift. Lillian is given an opportunity to demonstrate courage and shape history. It is also an act that binds the women together.

Julia is a film laced with tenderness and sadness. Ultimately, it is a tale of both heroism and tragedy. Although it cannot be categorized as obscure, Julia has been somewhat forgotten. This is not that surprising, of course. Most film critics are men, and Julia is a story about women that foregrounds and honors female friendship. Although shot in a conventionally romantic, almost cozy fashion, Julia is unusual in many ways. It is an American film for adults about the loving friendship of two accomplished women with romantic and professional lives. What’s more, it’s a movie about female activism and heroism. It needs to be fully restored to our cinematic memory.