It is an important intention of mine not to mix politics and actress-love. Jane Fonda is a huge icon for me, as I consider her one of the greatest actresses of the past century. Her choice of roles was wise; as a huge beauty that she was (and still is), she lighted the screen, also bringing with her great dramatic talent, an acting force combined with a natural grab and understanding of the character. Some named her Hanoi Jane due to her political beliefs and tried to damage her career. I condemn them, yet I won’t go there to detail. So, today, for the 4th performance of ’77, we go for classy and classic…
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approximately 88 minutes and 40 seconds
78.1% of the film
Julia
At the behest of an old and dear friend, playwright Lillian Hellman undertakes a dangerous mission to smuggle funds into Nazi Germany.
The film is actually the story of a beloved friendship between (future) playwriter Lillian Hellman (she was the author of The Children’s Hour and more of a socialist) and Julia (played by Vanessa Redgrave in an Oscar winning performance – for those who are familiar with the rest of the nominees in that category, she had no competition :p ). It’s a smart film, part biographical, done in a classier way, with a superb cinematography, beautiful beautiful music and very relevant cinematography. I consider it to be a film for those who love a soft period drama with great acting in it. For almost half of it, it’s also what I call a spy movie for those who love actresses. No shootings, just stylish tension.
The film is actually the story of a beloved friendship between (future) playwriter Lillian Hellman (she was the author of The Children’s Hour and more of a socialist) and Julia (played by Vanessa Redgrave in an Oscar winning performance – for those who are familiar with the rest of the nominees in that category, she had no competition :p ). It’s a smart film, part biographical, done in a classier way, with a superb cinematography, beautiful beautiful music and very relevant cinematography. I consider it to be a film for those who love a soft period drama with great acting in it. For almost half of it, it’s also what I call a spy movie for those who love actresses. No shootings, just stylish tension.
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Jane Fonda as Lillian Hellman
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Although the film is entitled Julia, the leading character is Lillian. Julia appears in flashbacks and later as a political activist and the person who (indirectly) influences Lillian’s actions. We first discover Lillian in the mid 1930s as a struggling writer living on a beach house with her lover Dashiell Hammett (Jason Robards, in a confusing Oscar win). She is not being successful and Jane does a good job expressing the inner and “exterior” battle of someone trying to put the right words on paper.
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And in a couple of flashbacks we encounter Julia, a rich friend of hers, whose equalitarian vision of the world will represent a key point later on in the story. Despite the bad hair, Fonda is adequate in her performance as the more naïve of the two young women. It’s here where we also discover the deep fascination that Lillian has for Julia and the special glowing in their eyes; is it more than just honest friendship? Who knows (the film keeps us doubting towards the end).
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As Julia becomes an activist in a Europe where Nazism is rising, the two don’t see each other for years. An unfortunate happening bring them together again for some brief hours. Lillian stays by her side without knowing what will happen next.
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And then Julia disappears again... Back in the USA, Lillian hits it big with her debut play The Children’s Hour. Again, the creative side of Lillian is accurately portrayed by Fonda, also adding some sweet moments – this is actually on of the main elements characterizing Fonda’s Lillian: the innocence. She can’t believe it when people start taking her seriously; this gives her an innocent touch, something to warm up to and connect with. It’s to her credit, that Fonda manages to show different sides of Lillian, it’s there, you can see the difference on her face, in her eyes: it’s one way she looks at Dashiell and talks to him and another one when she’s near Julia, a softer more nervous or anxious side. There are also long talks with her companion about her newly found success:
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During a trip to Paris on her way to Moscow… [look at Jane, what a beauty…]
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…continuing… in Paris, she receives a message from Julia, a message sent through a man. Julia, who is now in Hitler’s Berlin (the war hasn’t started yet, but it’s close), needs money brought in to help save the endangered lives, getting them out of there. They have the money, but they need someone to carry them there. She asks Lillian in the letter if she would do it, letting her know of the possible danger of getting caught. Lillian needs to think about it; it’s not easy for her as she herself if jewish.
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Here is where the “action” moves in, or at least the tension of the film. :) It’s the train ride from Paris from Berlin. Lillian is so nervous, as, at first, she doesn’t even know where the money are; she received a hat box and a box of chocolates. There’s also some mystery regarding the other two women from the compartment. Is any of them an ally? Is one of them a German spy? Oh, the mystery. Fonda does a great job mixing her nervousness with fear, fear of getting caught and mostly fear of failing and failing Julia.
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And here’s the famous hat, when they get out of the train at the border, to show their passports. [as I don’t believe this scene would have succeeded in real life, it represents an intense part of the film, beautifully carried by Jane Fonda].
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In Berlin, where she stays for like half an hour before she changes the train to Moscow, Lillian finally gets to see Julia again. It’s a very beautiful emotional scene and I don’t want to reveal too much of the dialogue. Yet, it’s worth mentioning that Fonda is on the top of her game, having a great chemistry with Vanessa Redgrave. There’s so much happiness expressed by Lillian, but also sorrow, regret. It’s Fonda’s most important scene of the film. Beautiful acting; wonderful.
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Also with tears of happiness and surprise when she finds out that Julia has a baby girl (hidden somewhere in Switzerland) whom she named Lilly. :) touching. Their departure in the café is emotional, and we get the right sense that it could be the last time…
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The ending is a tour-de-force for Jane Fonda. As she sees the coffin (guess whose), she’s heartbroken. Her beloved friend (and maybe more) is gone…
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And she hasn’t been able to find Julia’s baby, although she’s tried for months and months… There’s nothing she can do and all of this makes her mad with grief, furious, helpless.
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The first and last scene of the film is identical, with old Lillian Hellman in a fishing boat, seen from the distance, before sunrise. I’ve read trivia that said that that’s actually the real Hellman in the boat, with Fonda doing the voice over. Lillian Hellman was living at the time the film was made. [very interesting trivia]
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Conclusion:
A dramatic performance done well does wonders for me. I admit I underestimated it at first and it’s not easy to explain why I was so charmed. Jane Fonda offers many layers to a complex character; it’s the work of an experienced actress who (unexpected for me) was able to pull off the innocence of Lillian, transforming a character that could’ve been rigid in a very likeable one, a woman whose feelings, desires and emotions you can relate to. Yet, to prove that she still has the power to do high drama and tears, she blows us away in the last 10 minutes, when the film actually needed her to underline the tragedy of the story. Fonda knew when to be more restrained (café scene) and when to go full speed. I admire that. Although, for a talent this big, I bet it was childplay :)
because she had me. 
