# Julia (1977 film)

Julia is a 1977 American drama film directed by Fred Zinnemann and written by Alvin Sargent. It is based on a chapter from Lillian Hellman's 1973 book Pentimento about the author's relationship with a lifelong friend, Julia, who fought against the Nazis in the years prior to World War II. The film stars Jane Fonda as Hellman and Vanessa Redgrave as Julia. It co-stars Jason Robards, Hal Holbrook, Rosemary Murphy, Maximilian Schell, and Meryl Streep (in her film debut).
Julia released theatrically on October 2, 1977 by 20th Century Fox. The film received positive reviews from critics, grossed $20.7 million against its $7 million budget, and received a leading 11 nominations at the 50th Academy Awards, including Best Picture, Best Director (for Zinnemann) and Best Actress (for Fonda), and won three awards: Best Supporting Actor (for Robards), Best Supporting Actress (for Redgrave) and Best Adapted Screenplay. At the 35th Golden Globe Awards, the film received a leading seven nominations, including for Best Motion Picture – Drama, Best Director and Best Supporting Actor (for both Robards and Schell), with Fonda and Redgrave winning for Best Actress - Drama and Best Supporting Actress respectively. It also received a leading 10 nominations at the 32nd British Academy Film Awards, including Best Direction and Best Actor in a Supporting Role (for Robards), and won four awards, including Best Film and Best Actress (for Fonda).

## Plot

The young Lillian Hellman and her friend Julia, daughter of a wealthy family being brought up by her grandparents in the United States, enjoy a childhood together and a very close friendship in late adolescence. Later, while medical student Julia attends the University of Oxford and the University of Vienna and studies with such luminaries as Sigmund Freud, Lillian, a struggling writer, suffers through revisions of her play with her mentor and lover, famed author Dashiell Hammett, at a beach house.
Julia's university in Vienna is overrun by Nazi thugs, and she is severely injured trying to protect others. Lillian receives word of Julia's condition and rushes to Vienna to be with her. Julia is taken away for "treatment", and Lillian is unable to find her again since the hospital denies any knowledge of her being treated there. She remains in Europe to try to find Julia but is unsuccessful.
Later, during the Nazi era, Lillian has become a celebrated playwright and is invited to a writers' conference in the USSR. Julia, having taken on the battle against Nazism, enlists Lillian en route to smuggle money into Germany to assist the anti-Nazi cause. It is a dangerous mission, especially for a Jewish intellectual on her way to Russia.
Lillian departs for the USSR via Berlin, and the movements of her person, and the placement of her possessions (a hat and a box of candy), are carefully guided by colleagues of Julia through border crossings and inspections. In Berlin, Lillian is told to go to a cafe, where she finds Julia. They speak only briefly. Julia divulges that the "treatment" she received in the hospital in Vienna was the amputation of her leg. Julia tells her that the money she has brought will save 500 to 1,000 people, many of them Jews. Lillian also learns that Julia has a daughter, Lilly, who is living with a baker in Alsace. After Lilian leaves Julia in the cafe and boards the train to Moscow, a man tells her to avoid passing through Germany again after she leaves the USSR.
When Lillian reaches Moscow, the atmosphere is gloomy and oppressive. She receives word that Julia is dead. Returning to London, she is told that Julia has been killed in the Frankfurt apartment of a friend by Nazi agents, although the details of her death are shrouded in secrecy. Lillian unsuccessfully looks for Julia's daughter in Alsace. She returns to the United States and is reunited with Dashiell Hammett. She is haunted by Julia's memories and is distraught at not finding Julia's toddler. She is shocked that Julia's family pretends not to remember Lillian as Julia's friend, clearly wanting to excise from their memory a granddaughter who refused to conform at a time when conformity caused the murder of many innocent people.
The film ends with an image of Lillian Hellman many years later seated in a boat alone, fishing. She reveals in voiceover that she continued to live with Hammett for another thirty years and outlived him.

## Cast

* Jane Fonda as Lillian
* Vanessa Redgrave as Julia
* Jason Robards as Hammett
* Hal Holbrook as Alan
* Rosemary Murphy as Dottie
* Maximilian Schell as Johann
* Dora Doll as Woman Passenger
* Elisabeth Mortensen as Girl Passenger
* Meryl Streep as Anne Marie
* John Glover as Sammy
* Lisa Pelikan as Young Julia
* Susan Jones as Young Lillian
* Maurice Denham as Undertaker
* Gerard Buhr as Passport Officer
* Cathleen Nesbitt as Grandmother
* Lambert Wilson as Walter Franz
The film marked the film debut of Meryl Streep and Lisa Pelikan.

## Production

Julia was shot on location in England and France. Although Lillian Hellman claimed the story was based on true events that occurred early in her life, the filmmakers later came to believe that most of it was fictionalized. Director Fred Zinnemann would later comment, "Lillian Hellman in her own mind owned half the Spanish Civil War, while Hemingway owned the other half. She would portray herself in situations that were not true. An extremely talented, brilliant writer, but she was a phony character, I'm sorry to say. My relations with her were very guarded and ended in pure hatred."
The film was based on the "Julia" chapter of Hellman's memoir Pentimento. On June 30, 1976, as the film was going into production, Hellman wrote about the screenplay to its producer:
   This is not a work of fiction and certain laws have to be followed for that reason ... Your major difficulty to me is the treatment of Lillian as the leading character. The reason is simple: no matter what she does in this story–and I do not deny the danger I was in when I took the money into Germany–my role was passive. And nobody and nothing can change that unless you write a fictional and different story ... Isn't it necessary to know that I am a Jew? That, of course, is what mainly made the danger.
In a 1979 television interview with Dick Cavett, author Mary McCarthy, long Hellman's political adversary and the object of her negative literary judgment, said of Hellman that "every word she writes is a lie, including 'and' and 'the'." Hellman responded by filing a US$2,500,000 defamation suit against McCarthy, interviewer Dick Cavett, and PBS. McCarthy produced evidence she said proved that Hellman had lied in some accounts of her life. Cavett said he sympathized more with McCarthy than Hellman in the lawsuit, but "everybody lost" as a result of it. Norman Mailer attempted unsuccessfully to mediate the dispute through an open letter he published in the New York Times. At the time of her death in 1984, Hellman was still in litigation with McCarthy; her executors dropped the suit.
In 1983, New York psychiatrist Muriel Gardiner became involved in the libel suit between McCarthy and Hellman. She claimed to be the model for the character named Julia in Pentimento, and in the movie Julia based on a chapter of that book. Hellman, who never met Gardiner, said that "Julia" was somebody else.
Gardiner wrote that, while she never met Hellman, she had often heard about her from her friend Wolf Schwabacher, who was Hellman's lawyer. By Gardiner's account, Schwabacher had visited Gardiner in Vienna. After Muriel Gardiner and Joseph Buttinger moved into their house at Brookdale Farm in Pennington, New Jersey in 1940, they divided the house in two. They rented half of it to Wolf and Ethel Schwabacher for more than ten years.
Many people believe that Hellmann based her story on Gardiner's life. Gardiner's editor cited the unlikelihood that there were two millionaire American women who were medical students in Vienna in the late 1930s.

## Reception

Julia holds a 73% rating on Rotten Tomatoes based on 30 reviews, with an average rating of 6.7/10. The consensus summarizes: "Julia is a handsomely crafted and stirringly performed meditation on friendship and political activism, although its tasteful formalism often undercuts the multifaceted passion of these historical figures." On Metacritic, the film earned a weighted average score of 75 out of 100, based on 10 reviews, signifying "generally favorable reviews".
Variety gave it a positive review, praising Jane Fonda and Vanessa Redgrave as being "dynamite together on the screen", Richard Roth's production as "handsome and tasteful", as well as the period costumes and production design. Frederic and Mary Ann Brussat of Spirituality & Practice described the film as "extraordinary", writing: "Julia gives us a genuine and affecting portrait of a friendship between two women who confirm each other and strengthen their bonds over the years."
The film received some criticism as failing to adequately portray the friendship between the two leads. Roger Ebert called the film a "fascinating story", but felt the film suffered from being told by Lillian Hellman's point of view. "The film never really establishes a relationship between the two women," he wrote. "It's awkward, the way the film has to suspend itself between Julia – its ostensible subject – and Lillian Hellman, its real subject." He gave it two and a half out of four stars.
John Simon said of Julia "Very little of what happens in the film is intrinsically interesting." TV Guide gave it three out of five stars and declared it "Beautifully crafted, nominated for 11 Academy Awards, a big hit at the box office--and a dramatic dud ... If you like red nail polish, faux-cynicism, painfully brave smiles and European train stations, Julia may be your kind of cocktail."
The film earned $7.5 million in North American rentals.

## Awards and nominations

| Award | Category | Nominee(s) | Result |
| Academy Awards | Best Picture | Richard Roth | Nominated |
| Academy Awards | Best Director | Fred Zinnemann | Nominated |
| Academy Awards | Best Actress | Jane Fonda | Nominated |
| Academy Awards | Best Supporting Actor | Jason Robards | Won |
| Academy Awards | Best Supporting Actor | Maximilian Schell | Nominated |
| Academy Awards | Best Supporting Actress | Vanessa Redgrave | Won |
| Academy Awards | Best Adapted Screenplay | Alvin Sargent | Won |
| Academy Awards | Best Cinematography | Douglas Slocombe | Nominated |
| Academy Awards | Best Costume Design | Anthea Sylbert | Nominated |
| Academy Awards | Best Film Editing | Walter Murch | Nominated |
| Academy Awards | Best Original Score | Georges Delerue | Nominated |
| British Academy Film Awards | Best Film | Richard Roth | Won |
| British Academy Film Awards | Best Direction | Fred Zinnemann | Nominated |
| British Academy Film Awards | Best Actress in a Leading Role | Jane Fonda | Won |
| British Academy Film Awards | Best Actor in a Supporting Role | Jason Robards | Nominated |
| British Academy Film Awards | Best Screenplay | Alvin Sargent | Won |
| British Academy Film Awards | Best Cinematography | Douglas Slocombe | Won |
| British Academy Film Awards | Best Costume Design | Anthea Sylbert, Joan Bridge and Annalisa Nasalli-Rocca | Nominated |
| British Academy Film Awards | Best Editing | Walter Murch | Nominated |
| British Academy Film Awards | Best Original Music | Georges Delerue | Nominated |
| British Academy Film Awards | Best Production Design | Gene Callahan, Carmen Dillon and Willy Holt | Nominated |
| British Society of Cinematographers Awards | Best Cinematography in a Theatrical Feature Film | Douglas Slocombe | Won |
| César Awards | Best Foreign Film | Fred Zinnemann | Nominated |
| David di Donatello Awards | Best Foreign Actress | Jane Fonda | Won |
| David di Donatello Awards | David Giovani Award | Fred Zinnemann | Won |
| Directors Guild of America Awards | Outstanding Directorial Achievement in Motion Pictures | Fred Zinnemann | Nominated |
| Golden Globe Awards | Best Motion Picture – Drama | Best Motion Picture – Drama | Nominated |
| Golden Globe Awards | Best Actress in a Motion Picture – Drama | Jane Fonda | Won |
| Golden Globe Awards | Best Supporting Actor – Motion Picture | Jason Robards | Nominated |
| Golden Globe Awards | Best Supporting Actor – Motion Picture | Maximilian Schell | Nominated |
| Golden Globe Awards | Best Supporting Actress – Motion Picture | Vanessa Redgrave | Won |
| Golden Globe Awards | Best Director – Motion Picture | Fred Zinnemann | Nominated |
| Golden Globe Awards | Best Screenplay – Motion Picture | Alvin Sargent | Nominated |
| Kansas City Film Critics Circle Awards | Best Supporting Actor | Jason Robards | Won |
| Kansas City Film Critics Circle Awards | Best Supporting Actress | Vanessa Redgrave | Won |
| Los Angeles Film Critics Association Awards | Best Supporting Actor | Jason Robards | Won |
| Los Angeles Film Critics Association Awards | Best Supporting Actress | Vanessa Redgrave | Won |
| Los Angeles Film Critics Association Awards | Best Cinematography | Douglas Slocombe | Won |
| Nastro d'Argento | Best Foreign Director | Fred Zinnemann | Won |
| National Board of Review Awards | Top Ten Films | Top Ten Films | 3rd Place |
| National Society of Film Critics Awards | Best Actress | Jane Fonda | 3rd Place |
| National Society of Film Critics Awards | Best Supporting Actor | Maximilian Schell | 3rd Place |
| New York Film Critics Circle Awards | Best Supporting Actor | Maximilian Schell | Won |
| New York Film Critics Circle Awards | Best Supporting Actress | Vanessa Redgrave | Runner-up |
| Writers Guild of America Awards | Best Drama – Adapted from Another Medium | Alvin Sargent | Won |
After Redgrave was nominated for the Academy Award for Best Supporting Actress, the Jewish Defense League objected to her nomination because she had narrated and helped fund a documentary entitled The Palestinian, which supported a Palestinian state. They also picketed the Oscar ceremony.