Woman's picture with a difference

Press, 10 April 1978, Page 13

Woman's picture with a difference

CINEMA

Russell Jones

Julia, Savoy One, GA. “Julia” is the story of a friendship between two women, recounted in flashback, but it has none of the sentimentality of a “woman’s picture” and treats the women firmly as people — rather special people at that. The story is based on part of Lillian Hellman’s autobiographical memoir “Pentimento” and Julia (Vanessa Redgrave) was a childhood friend of the American author. Jane Fonda’ portrayal of Lillian has a depth and dramatic edge not seen in her previous work and to my mind her efforts are at least as deserving of an Oscar as Diane Keaton's acting in “Annie Hall.” Redgrave, the epitome of a blazing-eyed revolutionary in the film, did win an Oscar (best supporting actress) while the role of Lillian’s lover, Dashiell Hammett, won an Oscar for Jason Robards (best supporting actor). Neither Redgrave nor Robards is on the screen for more than about a third of the time and neither of their roles calls for much “acting” —they convey their characters by projecting mood and by allowing themselves to reflect the character of Lillian.

' However their work helps ' shape the film into a memoi rable tale of two women I caught up in the totalitarian (forces in Europe before the [■war. The first half is episodic with swift changes of time and location but the director, Fred Zinnemann, holds it together well. His talent for building suspense (remember “Day of the Jackal”?) comes to the fore during Lillian’s train journey through France and Germany.