7.4/10
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54 user 35 critic

Julia (1977)

At the behest of an old and dear friend, playwright Lillian Hellman undertakes a dangerous mission to smuggle funds into Nazi Germany.

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(based upon the story by), (screenplay)

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Won 3 Oscars. Another 18 wins & 24 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Woman Passenger
Elisabeth Mortensen ...
Girl Passenger
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Young Julia
Susan Jones ...
Young Lillian
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Grandmother
Maurice Denham ...
Undertaker
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Pratt
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Storyline

This Oscar-winning drama, based on the writing of Lillian Hellman, depicts the relationship between two friends and its unexpected consequences. After Lillian, a renowned playwright, reunites in Russia with her childhood playmate Julia, the writer is recruited to smuggle funds into Germany to aid the anti-Nazi movement. Waiting in the wings is Lillian's lover and mentor, Dashiell Hammett, who is unaware of her dangerous assignment. Written by Jwelch5742

Plot Summary | Add Synopsis

Taglines:

The story of two women whose friendship suddenly became a matter of life and death. See more »

Genres:

Drama

Certificate:

PG | See all certifications »
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Details

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| | |

Release Date:

20 January 1978 (West Germany)  »

Also Known As:

Júlia  »

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Box Office

Budget:

$7,840,000 (estimated)

Gross USA:

$20,714,400, 31 December 1977
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

This is the first film that Meryl Streep has appeared in that has the name "Julia" in the title. The second is Julie & Julia (2009) in 2009. See more »

Goofs

At the beginning of the film a calendar is seen showing the time as June, 1934. Yet months later, when Lillian is in Europe and reads about the riots which lead to an injury of her friend Julia, the American newspaper she reads has a date of Feb.,1934. See more »

Quotes

Lillian: I like being famous. You know what happens when I go shopping for groceries now? I'm famous. I buy mayonnaise and I'm famous. Get letters from people in Idaho. I don't even know where Idaho is.
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Connections

Featured in Breakfast: Episode dated 18 February 2010 (2010) See more »

Soundtracks

G'schichten aus dem Wienerwald, op. 325 (Tales of the Vienna Woods)
(1868) (uncredited)
Music by Johann Strauss
Waltz played at a hotel
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Frequently Asked Questions

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User Reviews

 
"I still carry too much"
13 October 2011 | by See all my reviews

The great thing about the more liberated cinema we got in the 60s and 70s, was not just that it could be more frank about sex, violence and the like, but that stories of a bleaker nature could be told without the need for a cosy happy ending. Not that the glee and glamour of classic Hollywood is something I disapprove of – far from it – but cinema, like all things, needs a bit of the darkness to make the light worthwhile. With this adaptation of Lillian Hellmond's semi-fictional memoir, we have one of the rare masterpieces of harrowing cinema.

To make something like this work, you need a really superlative cast, and fortunately Julia features some of the best of their era. Jane Fonda is one of those performers who just has such an effortless realism about her. She gives an impression that she is really living that life, more convincingly than the finest method actors, and yet she is also as captivating as the most theatrical of players. Maximilian Schell gives a short but memorable performance, putting on an act of tender shyness, beneath which lies a real sense of urgency. Jason Robards gives a kind of stable anchor to the movie, confidently playing the one major character slightly to one side of events. Vanessa Redgrave gives a delightfully mysterious turn, with this continual eager, earnest look in her eyes, as if she is perpetually on the brink of laughter or tears. And this is very apt for a picture of such uncertainty and emotional turmoil.

This was one of the final pictures of director Fred Zinnemann, an old pro whose quiet, thoughtful style had survived amid the new generation of filmmakers. And he shows the benefit of years of experience. Never afraid to break the cinematic conventions, Zinnemann opens the first flashback with three close-ups, the young Julia, the young Lily and then a profile of Julia's grandmother. This odd sequence of shots nevertheless engages us instantly, impressing the characters upon us and, with the shot of the grandmother, giving us a hint of her character and the context these girls are in. In contrast with those heartfelt close-ups, at other times his camera is agonizingly far from the action. When Fonda visits Julia at the hospital, the camera stays at the foot-end of the bed, refusing to give us a closer shot of Redgrave – as would be conventional. Zinnemann is also very good at covertly planting a thought in our heads with something that looks innocuous. For example, when Fonda wakes up and notices Julia is gone, a soldier walks across the shot, giving us the idea that perhaps something sinister is going on, without actually stating anything.

But none of this would be anything without the right story. Hellmand's work, adapted for the screen by Alvin Sargent, is simply exquisite. The flashback structure, so often a cliché, does not just serve to give the story background, it supports the main line of narrative. Lily's reminiscences have such passion and life that it seems Julia is saved through them, as if past and present could almost co-exist. Julia is a story of devastating effect on many levels. It is the telling of a horrendous chapter of history on a most personal, intimate level, a painful tale of loss and regret, and yet also one of the most moving studies of love and friendship ever created.


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