Set during the fading glory of the Austro-Hungarian empire, the film tells of the rise and fall of Alfred Redl (Brandauer), an ambitious young officer who proceeds up the ladder to become ... See full summary »
Klaus Maria Brandauer,
Hans Christian Blech,
A tale based on the life of Wilhelm Furtwangler, the controversial conductor of the Berlin Philharmonic whose tenure coincided with the controversial Nazi era. One of the most spectacular ... See full summary »
The story shows Emma's and Böbe's fight for survival, for keeping their position in society which they achieved with hard work in the previous regime. They don't want to lose their place and become village girls again.
Johanna ter Steege,
1938. Julia Lambert and Michael Gosselyn are the royal couple of the London theater scene, Julia an actress and Michael a former actor who took over running the theater and its troupe upon the passing of their mentor, Jimmie Langton. Jimmie is still constantly with Julia in spirit as she navigates through life. Besides their work, Julia and Michael lead largely separate lives, they long ago having stopped a sexual relationship. Julia of late has been feeling disenchanted with her life, she not wanting to admit it's because she is approaching middle age. Her disenchantment manifests itself in wanting Michael to close their current production early so that she can recharge her juices, something he is reluctant to do if only for not wanting to let the theater sit empty. What Julia ends up doing instead is embarking on an affair with Tom Fennel, an adoring young American who is young enough to be her son. As Julia and Tom's relationship progresses, the more she falls in love with him and ...Written by
Tom tells Julia that Michael has given him a box for the opening of the new play. When we see Tom after Julia makes an obvious reference to him by saying, "B-E-N," he is seated not in a box but in the orchestra section, next to Julia's son and in front of Julia's male friend. See more »
I'm sorry about the photo, it won't happen again.
I FORGIVE YOU!
[Julia passionately kisses Mr. Turnbull before running off]
What's WRONG with her...?
See more »
Once again, Annette Bening is deep in the hunt for a Best Actress Oscar and once again she may fall short. Bening is front and center for the entirety of the film - and it's a big show-stopping diva actress performance that will conjure up comparison to the likes of Bette Davis (All About Eve), Diane Weist (Bullets Over Broadway), and Gloria Swanson (Sunset Blvd.). Bening's performance flat-out dominates the film and she's constantly emoting. But, save for perhaps the grand last stage scene, Bening's best moments are her quieter ones.
As stellar as Annette is, she can not salvage Being Julia in total. While there are a few great quips here and there, this is not one of Ron Harwood's better adaptations. The screenplay seemed to lack cohesion at times which made this short film drag and weakened the impact of the ending. The rest of the cast ranged from great (Irons, Gambon) to unfortunate victims of the script (Greenwood).
See this film if for nothing more than Bening. If she sweeps you up, the you may be able to forgive the weaker moments of Being Julia. Perhaps Academy Award voters will forgive them too and send Mrs. Beatty home with a little golden man in February.
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