Picking up the newspaper in recent days has become a trial, as the aforementioned J/J hypebeast permeates more and more "news" stories. A feature on the food styling in the movie, and a well-timed story on the recovery of Child's pans from a defunct Cali food concern, and a story about the radical, pro-marriage outlook of Ephron's script (yes, there is a brief mention of the fly in the ointment). Before the week is out, I bet you that a story on Obama's foreign policy mentions that Julia worked for the OSS before becoming a cookbook author. Thankfully, The Cod is not alone. There are the legions of prissy food bloggers who have Powell fatigue, and now the Globe's Braniac also notes the avalanche of J/J features.
That said, I would like to point out what strikes me as the subtle, but toxic, mysogyny of the film. I have not seen the film, and hope to avoid doing so, but here's a hypothesis on how it unfolded:
1) Powell's blog to book gets a lot of attention when it comes out in 2005.
2) A studio, excited about a popular project with a 21st century blog-type focus, buys the rights, gets Ephron to write the script. 3) The prospect of a film soelly on the Powell book is untenable, as it is already pretty thin gruel, being a book about writing a blog, which, as it happens has cinematic appeal than, say, T.E. Lawrence attacking a train, or Vivien Leigh stamping her foot.
4) Then, a decision is made to graft My Life In France, the posthumous Child memoir, onto J/J, the theory being that a film based on two sort of wispy books is better than a film based on one sort of wispy book.
5) Certainly Julia and Paul Child are much more interesting than Julie Powell and her husband, except that while one can flatter Powell with someone like a generically cute Amy Adams, Julia Child has an unmistakable and distinct presence as a large and old woman. 6) Evidently indifferent to the tentpole for the whole project, the J/J team casts Meryl Streep as Child. Streep is a Great Actor, and one of about three women recognizably over 40 who is able to cash paychecks working as an actor. There has been persistent discussion of how Streep's performance is "remarkable," but from what I've seen, I am not buying it. It's got that Streepy streepiness, but everything that makes Streep a star (poise, radiant beauty, that thing Joseph Roach wrote a book about), makes her a bad choice to play Child, whose quintessence partakes of a peculiar mix of patrician ease and genuine awkwardness. The stills, especially the one of Streep with a chicken, seem like outtakes of one of those photoshoots where a current model does a series of shots in the style of a model of bygone days. (See LiLo's art-directed suicide note for a recent example.)
7) And yet, this mugging is getting praised as a "remarkable performance." And here's where the mysogyny, or at least the agism, comes in. The only way it is possible for Streep to get this kind of praise for a performance where she has a costume, rather than a character, is that nobody involved in the motion picture industry looks at, or cares about looking at, older women, or more specifically women who look like older women.
Serving canapes to Julia Child at John Kenneth Galbraith's Harvard Graduation party in 1986 (I think) was the catering high light of my life. My first reaction when I, looking at the tray I was holding, came up to Julia Child who was a tall, tall woman, was, much to my chagrin, "What is this THING in front of me!" I was 6'1" at the time and I felt like when I looked forward at her I was staring at her shins.
Then she grabbed one of whatever I was serving, popped it in her mouth, and started talking, and there was the VOICE unlike any other. I almost fell over, walked back into the kitchen, looked at my mom who was running the party and said, "Is Julia Child out there?" She pursed her lips as if I had asked an inane question and said, "Oh yeah. She's here every year." I didn't even know J.C. lived in Cambridge!
Posted by: New Orleans Survivor | Tuesday, 04 August 2009 at 01:02 PM
1) Also grousing: the all-powerful Nikki Finke. http://www.deadlinehollywooddaily.com/ny-times-inexplicable-hollywood-coverage/
2) How dare you cast aspersions on Dame Meryl?
3) My interest in watching this film, or reading this book: absolute zero.
Posted by: Britopia | Tuesday, 04 August 2009 at 01:06 PM
I for one am enjoying the hot Wellesley (Ephron, '62) on Wellesley (Finke, '75) action.
Posted by: cinetrix | Tuesday, 04 August 2009 at 02:54 PM
Excellent postulating on the historical evolutionary aspects. My hope: straight to DVD.
Posted by: Marco | Tuesday, 04 August 2009 at 03:43 PM
My Life in Fance is quite good. It kind of feels like you are being told a story by your grandmother.
Julie & Julia, however, is not.
Posted by: Susie | Tuesday, 04 August 2009 at 04:46 PM
I really enjoy your ongoing observations on J/J. At the same time, I'm finding myself agitated as I observe the (typical) hostility with which the We Happy Few Crew attacks any collision between their sacred cows and a real mass market. Just to insert a couple of thoughts: If we're about celebrating the notion of bringing French home cooking to the average housewife --the mission of the original MtAoFC-- well, isn't a project like this exactly that embodiment in this day and age? And on misogyny: if we're going to vilify Nora Ephron for her usual star-struck sappiness or Julie Powell for having parlayed a personal crisis-into-a-blog-into-a-book deal-into-a-movie, I think that there should at least be some criticism levied at some nepotizz: he no doubt received the same filthy greenbacks Alex Prud'homme for having feasted at the near-corpse of his dying aunt. Really enjoy your blog.
Posted by: Mandy Mastrovita | Thursday, 06 August 2009 at 06:35 PM
Smoove. Alex Prud'homme no doubt received the same filthy greenbacks for having feasted at the near-corpse of his dying aunt. Really enjoy your blog.
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