Being Julia (2004)

Director:

István Szabó

Writers:

Ronald Harwood (writer)
W. Somerset Maugham (novel)

Release Date:

28 October 2004 (Israel)

Genre:

Comedy | Drama | Romance

Tagline:

Passion. Obsession. Revenge. Prepare for the performance of a lifetime.

Plot:

Set in '30s London, the film involves stage actors and their experiences with love and revenge.

Plot Keywords:

Revenge | Actress | 1930s | Social Climber | Diva

Awards:

Nominated for Oscar. Another 6 wins & 11 nominations

Cast

Michael Gambon	...	Jimmie Langton
Annette Bening	...	Julia Lambert
Leigh Lawson	...	Archie Dexter
Shaun Evans	...	Tom Fennel
Mari Kiss	...	Mr. Gosselyn's Secretary
Jeremy Irons	...	Michael Gosselyn
Ronald Markham	...	Butler
Terry Sach	...	Chauffeur
Catherine Charlton	...	Miss Philips
Juliet Stevenson	...	Evie
Miriam Margolyes	...	Dolly de Vries
Max Irons	...	Curtain Call Boy
Andrew Paton Story Busher	...	Male Singer
George Lang	...	Antoine the Maitre D
Michael Culkin	...	Rupert

Also Known As:

Csodálatos Júlia (Hungary)

MPAA:

Rated R for some sexuality.

Runtime:

104 min

Country:

Canada | USA | Hungary | UK

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital | SDDS

Certification:

Canada:14A (Ontario) | Sweden:Btl | Brazil:12 | Ireland:15 | Malaysia:U | Hungary:14 | South Korea:15 | Argentina:13 | Australia:M | Finland:K-11 | Hong Kong:IIB | Portugal:M/12 | Singapore:M18 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | Switzerland:14 (canton of Zurich) | UK:12A | USA:R | Iceland:12

Filming Locations:

Budapest, Hungary

Company:

Serendipity Point Films

Trivia:

Miranda Richardson was originally attached to play Julia Lambert.

Goofs:

Continuity: When Tom first dances with Julia in a nightclub, he is clearly seen wearing a square-faced wristwatch. This is the Cartier given to him a few scenes later by Julia. He shouldn't be wearing a watch at all in this early scene, having pawned his own round-faced watch to pay for the night's entertainment.

Quotes:

Julia Lambert: I always lay a place for him at the table, just in case he turns up.
Michael Gosselyn: He's been dead for 15 years.
Julia Lambert: Yes, but, you never know.

Movie Connections:

Featured in The 62nd Annual Golden Globe Awards (2005) (TV)

Soundtrack:

They Didn't Believe Me

Hell hath no fury like a woman scorned

I am not a fan of Annette Benning by any stretch of the imagination. I thought she was far too old to play the schoolgirlish ingenue in "An American President", and found her lacking in warmth and charisma as the love interest in "Open Range". I thought she was okay for what she had to do in "Dick Tracy", and honestly can't remember her performance in "American Beauty".

In "Being Julia", however, Benning's performance thoroughly does justice to her larger-than-life character. Benning plays 1930s stage actress Julia Lambert. Julia is by turns melodramatic, egocentric, overbearing and overwrought. She roars into our consciousness from her first scene to her final curtain.

Benning is surrounded by a fine cast of actors and actresses who act as perfect foils for her. Jeremy Irons, especially, is subtle and subdued as her manager husband, Michael Gosselyn. Juliet Stevenson is a sly confederate as Julia's dresser Evie. Miriam Margolyes is a hoot as theatre owner Dolly. Shaun Evans is a feast for the eyes as Tom Fennell, the young cad who breaks Julia's heart. Michael Gambon rounds out the cast as Jimmy Langton, a ghostly mentor to the very much alive and lively Julia.

Julia is not exactly what you would call an admirable human being. She is self-centered, bitchy, catty and vengeful. But, as the Italians say, "revenge is a dish best eaten cold". The film keeps us in suspense as we nervously wait for the other shoe to drop, for Julia to execute her carefully plotted revenge. When she springs her trap, we may shake our heads disapprovingly, but we cannot suppress a hearty laugh.

By its very nature, "Being Julia" is a film that will not appeal to a young demographic. You have to be a certain age to appreciate Julia's predicament of growing old and feeling that life and love have passed her by. Benning bravely allows director Istvan Szabo to film her in merciless and unforgiving closeup, to capture the lines etched in her brow, around her mouth and at her neckline. But the film leaves us with a sense of hope that, like Julia, we may all age like fine wine -- or like the beer whose creamy foam Julia relishes like her life itself: without the slightest trace of sadness or regret.