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Postcards from the Edge (1990)

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A substance-addicted actress tries to look on the bright side even as she is forced to move back in with her mother to avoid unemployment.

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(book), (screenplay)
Nominated for 2 Oscars. Another 2 wins & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Suzanne Vale
... Doris Mann
... Jack Faulkner
... Lowell Kolchek
... Doctor Frankenthal
... Joe Pierce
... Grandma
... Grandpa
... Evelyn Ames
... Simon Asquith
Gary Morton ... Marty Wiener
... Julie Marsden (as C.C.H. Pounder)
Sidney Armus ... Sid Roth
... Aretha
... Carol
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Storyline

Substance-addicted Hollywood actress Suzanne Vale is on the skids. After a spell at a detox center her film company insists, as a condition of continuing to employ her, that she live with her mother Doris Mann, herself once a star and now a champion drinker. Such a set-up is bad news for Suzanne who has struggled for years to get out of her mother's shadow, and who finds her mother still treats her like a child. Despite these problems - and further ones involving the men in in her life - Suzanne can begin to see the funny side of her situation, and it also starts to occur to her that not only do daughters have mothers, mothers do too. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

Having a wonderful time, wish I were here.

Genres:

Comedy | Drama

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

14 September 1990 (USA)  »

Also Known As:

Recuerdos de Hollywood  »

Filming Locations:


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Box Office

Budget:

$22,000,000 (estimated)

Gross USA:

$37,963,281
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (edited)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Lana Turner was reportedly very offended after seeing this film, specifically objecting to a line which compared her mothering skills to that of Joan Crawford. See more »

Goofs

The Texas flags on the set of Suzanne's country video are displayed incorrectly. The state code since 1933 says the red stripe should be on the right side when the flag is hung on a wall vertically. Both flags visible in this scene have the red strip on the left side. See more »

Quotes

Suzanne: Ma, I'm middle-aged.
Doris: Dear, *I'm* middle-aged.
Suzanne: Really. And how many one hundred and twenty year old women do *you* know?
See more »

Connections

Spoofs Frankenstein (1987) See more »

Soundtracks

I Love to Be Unhappy
Written by Gilda Radner & Paul Shaffer
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User Reviews

 
Nothing heavy here, but such virtuosic lightweight brilliance!
28 August 2010 | by See all my reviews

Postcards from the Edge (1990)

Mike Nichols is as close to a William Wyler as the New Hollywood (post-1967) gives us. His movies are both impeccable and emotionally taut. They feature the very best production values and impressive acting. And they take chances carefully, which isn't actually an oxymoron. Nichols knows he's pushing boundaries, but within the established forms. Even this movie, with its insider look at Hollywood, feels ingenious in a safe way, with echoes of "The Bad and the Beautiful" but with everyone toned down to a perfect realism.

One of the tricks of this movie, which is a little over the top in so many small ways (again, careful restraint all around), is keeping the acting believable. And foremost is Meryl Streep, lovable and sympathetic but not quite admirable or otherworldly the way older generation actresses so often get portrayed. Streep as a drug-troubled actress is a wonder, and right behind, with deliberate hamminess, is the woman playing her mother, Shirley MacLaine. Add Gene Hackman and Richard Dreyfuss in smaller roles, a cameo by Rob Reiner, and a pretty boy role for Dennis Quaid, and you can see there is something cooking here.

So why isn't this a great movie? It has the trimmings of greatness, even beyond the acting. Story by Carrie Fisher, music written by Carly Simon (and performed by the cast). Photography by German import Michael Ballhaus (who by the 1990s was also working for Coppola and Scorcese).

Well, some might say it really is great. Even though it is lightweight, even airy as a farce, and even though it leaves you only slightly glad, or happy, at the end rather than transformed, you could argue that Nichols intended something with this flavor, and achieved it. Could be. But for a simple example, take his second movie, "The Graduate," and notice the same tone, humor and irony laced with important topical and emotional strains. How different the effect there, and maybe for a couple of reasons. One, I think, is the subject matter here is the famously glib, plastic, unsympathetic world of overly rich, tabloid saturated Hollywood itself. Another is the inherent plot. What happens? A woman overcomes her addiction to star in another movie, and she seems to move a little forward in her relationship with her mother. Enough? Maybe not.

But knowing it's not trying to change the world, you might appreciate the illusory nature of the medium, exposed for us in a whole bunch of different ways (moving props, back projection, doubles used for blocking and framing, lights and camera in action, screening rooms and overdubbing, and so on. This is the stuff behind the drama enacted by Streep and MacLaine and the rest. It's worth watching in its own right.

And Nichols and Ballhaus have filmed this to glossy perfection, layering and moving and keeping the long takes going as long as possible (with an apology by Hackman, as a movie director, to Streep, the actress playing the actress, for using such long takes all the time). It's almost as if Nichols is making fun of himself, and the excesses that cause the cast and crew to go a little crazy.

Brilliant and entertaining? Completely. Probing or socially satirical in any way? No, not even into Hollywood, which is safely behind all these layers. Still, a film not to miss.


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