The Review: Being Julia

Being Julia
Writer: Ronald Harwood
Director: István Szabó
Cast: Annette Bening, Jeremy Irons, Shaun Evans, Lucy Punch, Juliet Stevenson, Miriam Margolyes, Tom Sturridge, Bruce Greenwood, Rosemary Harris, Rita Tushingham, and Michael Gambon
Release Date: October 15, 2004
Review written sometime in January 2014

Annette Bening and Jeremy Irons: Look at me: I'm talking!

I must confess I don't have quite an attention span these days. I want to blame it on the 21st century: It's rather fast and leaves no time for any thinking. So, if I come across a movie that taxes my thinking powers for a little more than ten minutes, I tend to fast forward it to its end. Yes, I have done that and I don't deny it. Usually, I sit through it all out of respect for the ones who fashioned it, but there are times my 21st century impatience gets the better of me. Luckily, and it's sheer luck really, I decided against letting this impatience of mine interfere with my watching Being Julia.

Being Julia tells the tale of Julia Lambert, an ageing stage actress. She is rather bored of life and her career for they bring with them little excitement and no unpredictability at all. One fine day, after she tells off her husband who happens to be one of the producers of the play she stars in, she falls in bed and love with a smooth chocolate of an American boy, Tom Fennel.

Annette Bening and  Shaun Evans: Honey loves money.

Tom works for Julia's husband and is supposed to be her ardent fan. He is also as old or as young as her son. His age itself gets tongues to wag and before long, he unveils what he really is: a womanizing gold digger of sorts. Naturally then, he breaks Julia's heart. But she insists on seeing him despite that. Now, with her wrapped around his fingers, he starts to pursue Avice Crichton - an actress who believes in using every one along the way and in her way to achieve stardom. He recommends her to Julia who, in turn, recommends her to her husband. Avice is cast in the new play alongside Julia (who willingly, and rather unexpectedly, takes on a supporting role) and the entire cast starts to work its way to the finale. But somewhere amidst all this calm that Julia exudes during the rehearsals and the collected self that she portrays seems to lie a thread of cunning that, though sensed, doesn't seem to have been taken seriously. So what's to happen then? Will she slice the play to bits with a little scheming? Will she prove she is the best even at an age known for wrinkles and lines? Or will she just walk away from the limelight and read books by the white cliffs of Dover?

(I hate to use those questions but you must forgive me: It's 9:15 in the night, I have to sleep, and go back to a job at a desk. That routine requires a lot of grit and effort - effort that I will be short of if I sit and think here of how NOT to use those questions I just mentioned.)

The film begins with a whole lot of bling.

To be honest, the film begins slowly - something you may have guessed by what I did say a few paragraphs ago. A whole lot of gold and opulence mixes rather eloquently with the splendour of the royal theatre as the credits appear - all of it accompanied with some charming classical-esque music. All that then cuts to a monologue about theatre and acting - enunciated and elucidated by the dependable Sir Michael Gambon. Unfortunately, the monologue seems as if it has overstayed its visit, and that's what makes you want to fast forward to  the middle of the movie.

But, please! Don't.

For Being Julia has marvellous scenes etched with some great writing and ably supported by a skilled cast. The dialogues are classy and the twists that turn up are not written into the script merely for the sake of the need of twists.

The cinematography is bright and colourful and exudes an infectious vibrant vibe. It draws you to notice the colours, the light, the locales, and the people whose story it helps to tell. There's not much of a 1930's London shown, but whatever is, passes muster. The cars, the fashion, the landscapes - all of it has the '30s decades stamped on them. I like that period and so the sets and costumes were a delight to see. Of course, I understand I am writing this in the 21st century, so I cannot expect all to nod their heads in agreement to my dated tastes. But well, I know a few will, and I am sure they'll be delighted by the gowns and coats and jewellery that strut around in the movie.

Annette Bening: Her act is classy and exquisite.

Annette Bening is just lovely in whatever she decides to act in, and this film is no exception. She has a perfect British accent, is coquettish enough, and does throw in a delicious dose of histrionics in the proceedings. There were instances-especially in the first few minutes of the film-when I felt she wasn't living - or acting - up to her reputation: She seemed rather  mechanical in them as if a clock were driving her to complete the act and move on to the next scene. But later, she redeems herself with a performance that's worthy of a standing ovation. It won't be an exaggeration to say that Being Julia has Annette Bening written all over it. It's her vehicle - make no mistake about that.

Jeremy Irons as Julia's husband has nothing much to do except play the part of the modern husband accustomed to what in 1930 will have been termed as a rather scandalous demeanour for an actress-wife. And that he does with dignity, grace, and his trademark charm.

Tom Sturridge: The eyes say it all.

As Julia's son, Tom Sturridge probably was asked to not act but look ravenously handsome and irresistibly delicious instead. And that he does with his eyes, his deliberately slow pace of talk, and his dark brown locks of hair. I didn't think much of his acting. It was as if he were modelling for furniture on the sets, but that seems to have gone almost completely unnoticed by many who have watched this film. Evidently then, Sturridge is a magician of sorts: He can draw attention to what he wants you to take notice and no further. I must say he does pull that trick off well - if earlier reviews are anything to go by.

As the rascal of a lover, Shaun Evans does a commendable job. You love him for his looks, fall for his charm, and then scorn and loathe him for his manipulative behaviour - just what Julia does in the film.

Lucy Punch: The lady's a vamp in her own gentle manner.

Lucy Punch injects just the right amount of venom in her Avice Crichton and matches Bening's moves very well. She is nervous yet sly and absolutely selfish when it comes to climbing the ladder. Her scenes with Bening are quite an example of how a script can come alive only if the actors/actresses become what they are to portray.

All said and done, Being Julia is a charmer. It's sassy, beautiful; and true to the diva on which it's based, it doesn't hurry to prove its worth. Keep your finicky self at bay. And remember that character and story take time to brew. This film does brew them both a little too much than what we are accustomed to. Sit through it though - don't walk away - and wait for the concoction to turn golden brown. And I promise you you'll be glad you stayed.