THE ART OF CULINARY COMMUNICATION: a review of "Julie and Julia"

Originally written on Dcember 29, 2009

“JULIE AND JULIA” Written and Directed by Nora Ephron
*** (three stars)

I never expected that I would have seen this film. When I saw the trailers before its summer theatrical release, I just knew it would be something that may be entertaining and may even be quite good, but alas something that just was not my cup of tea. I was certain that I would not be the audience for a movie like this. And then, a package from my Father-In-Law arrived in the mail for the holidays. Inside was a copy of this film on DVD. My wife explained to me that her parents, like millions of others, were both tremendous fans of Julia Child’s eternal cooking manual and subsequent television program and perhaps that was the reason he had sent this film to us. (I have since learned that he purchased copies of this movie and mailed it to several people as their respective Christmas presents.) Now that this movie was sitting on our cluttered kitchen table (which I must say, is rarely used for actual eating as it houses bills, magazines and all manners of other domestic artifacts), there was no getting away from it and perhaps, it was a sign. Happily, I am here to inform you that “Julie and Julia,” the latest film from Nora Eprhon, Writer/Director of “Sleepless In Seattle” and “You’ve Got Mail,” and Writer of Director Rob Reiner’s 1989 classic “When Harry Met Sally,” is a bonafide charmer that illuminates and satisfies.

Meryl Streep stars as the immortal Julia Child, before culinary, literary and television stardom, during her days in Paris in the late-1940’s/early 1950’s as she attempts to discover her purpose in life. After humorously declaring that what she wants most out of life is to eat, she decides to learn how to cook and ultimately begin the voyage of writing her famous cookbook. Amy Adams also stars in the present day material, set just a short period after 9/11, as Julie Powell, who in order to gain newfound purpose in her life at she approaches the age of 30, creates a blog where she vows to cook her way through the entirely of Julia Child’s cookbook within a one year time frame. The film deftly alternates between both periods, as we view both women navigate themselves towards their respective goals as well as through their personal love stories with their respective husbands (Stanley Tucci stars in the period era as Paul Child, Julia’s diplomat husband and Chris Messina features in the present as Powell’s endlessly patient and long-suffering husband, Eric).

Much beyond the act and art of cooking and a celebration of food, at its core, “Julie and Julia,” is a dual tale of two women on the cusp of transformation. Both women were secretaries for government agencies, as we learn of Child’s tenure in the Secret Service (where she met her husband) and as we also view Powell’s soul-crushing cubicle life. What we are witness to is the proverbial “benchmark moment,” their individual lines in the sand as they have simultaneously reached stages where their lives were about to change. The movie is not heavy handed with this depiction, as it is indeed a Nora Ephron film. It skates along under the guidance of the lightest of cinematic hands. That is not to say that “Julie and Julia” lacks depth. Certainly for any viewers who find the sights and suggestions of food to be of the most sublime imagery, there is a hefty amount to savor as all of the sequences are lovingly filmed. Like the reality program “Top Chef,” the act of watching someone blissfully swallowed by cooking is a nearly contagious one. What really surprised me about this film and my reaction to it was how we are able to view these two woman use whatever tools they had at their disposal in order to complete and realize their dreams.

Yes, the many sequences of Powell’s cooking connect her emotionally to the world of Child’s past but the film is also a passionate statement to the devotional act and the power of writing as a communicative art. As with cooking, there is a deep craft to writing letters, the film suggests, a craft that has quite possibly been lost in the age of Twitter. We see and hear Child’s letters to her pen pal who eventually assisted her in finding a publisher. We also witness letters Paul Child sends to his twin brother back in the states and the ultimate publication of those letters are read by Powell to her husband. The love of words and the love conveyed through the words translate extremely well through the screen. Perhaps, as Powell is a frustrated novelist, her scenes as she compulsively writes and publishes her blog to absolutely anyone who may take the time and patience to read it struck a chord with me as I sit here and compulsively write and publish these film reviews for anyone who is willing to take the time to read them.

All of the performances are simply lovely. What can be said of Meryl Streep that hasn’t already been said? I have mentioned before that sometimes I am a bit resistant to her as she sometimes strikes an “Actor’s Studio” vibe with me. But, again, she surprised me by making Julia Child so much more than an imitation or caricature. We are given a woman who is a societal misfit due to her height and of course, that oddity of a voice, and yet, instead of waiting for society to accept her, she courageously blazed her own trail without hesitation and made society conform to her.

Much has been written about Amy Adams’ performance as Julie Powell and not in a terribly forgiving light as Powell is presented as being quite narcissistic, immature, a bit whiny, inconsiderate of her husband and in the words of one of her closest friends, “a bitch.” It has been argued that because of those qualities, it was difficult to become engaged with Powell and thus, we are left with only half of a good movie. While I truly understand the criticisms, I am inclined to disagree as I actually enjoyed her sequences even more than the Child sections of the film. Yes, Julie Powell is all of those aforementioned qualities and she does become somewhat insufferable. But, also the film never shies away from those qualities or glosses them over. It is indeed quite critical of her behavior and when her husband leaves her after a conflict, you do side with him. But in her and Ephron’s defense, how many films have we all seen that presents a male artist of some sort who is consumed by their work and we are always asked to understand and accept their questionable and damaging behavior? This film makes the same case of Powell. She does cause some internal damage to her personal and professional life but we also see that this project is her calling, her purpose and it must be met in every conceivable way…and how could such a calling be debated? In order to make this character soar, you need the right actress to hit the right notes and Adams’ performance was beguiling to me. It actually reminded me quite often of Meg Ryan’s most affectionate performances. Adams does indeed dance to the edge of chirpy mania but she always finds her footing and makes her obsessions tangible to the audience.

Another treat this film served was in its depiction of the husbands. Men typically get short shrift in the movies as their roles as Fathers or romantic partners are always shown as stupid man-children who don’t understand the definitions of responsibility, commitments or maturity. Chris Messina and Stanley Tucci remedy that image in two supporting roles that convey a palpable warmth and endearment towards their partners. Tucci is especially effective as he knows fully well that this is Streeps’s movie and he wisely chooses not to compete with her—as I imagine the real Paul Child behaved with the real Julia. What he does show to us, however, is a man so completely in love with his wife. He wants nothing but her happiness and her chance to see her goals through to their natural fruition. We see his eyes and we feel that love and I wish that more filmed love stories were written and acted this simply and truthfully, acknowledging the passage of time of shared lives being lived.

Now, I do have to say that even though the film runs slightly over two hours, it did feel long at times. It did also suffer a little bit from false endings as a few times I expected the end credits to scroll and then, another scene would pop up or the realization that Powell hadn’t completed that final recipe yet would occur.

Yet these are minor quibbles in an otherwise charmng and enlightning little movie that earns all of the good sentiments and good will it is seeking from the audience.