Before Katniss Everdeen emerged as a strong, vital female character, there was Julia. The year was 1977, and feminism at its most fervent reached the screen. The movie, Julia, garnered 11 Oscar nominations, winning 3 awards. Vanessa Redgrave, in a luminous performance, plays the title character, a young leader of the antifascist underground in Nazi Germany. Jane Fonda portrays her lifelong friend, who with Julia’s encouragement leaves the comfort and safety of her writer’s beach house in America to smuggle money into Berlin for the Resistance. Each time I watch this movie, I marvel at Jane Fonda’s artistry.
[Repost from April]
In a scene that defines Julia’s character and sets the tone for the way the film depicts women, Nazi hooligans invade her university’s campus in Vienna and begin gleefully tossing Jewish students and professors over a balcony. Brandishing a table leg, Julia leads her fellow medical students in a charge to defend the mob’s hapless victims. In the ensuing combat, she endures a savage beating and loses a leg as a result. Later, swathed in bandages and lying in her hospital bed, she is visited by her friend from America, Lillian, who insists on staying by her side. When Julia recovers, she returns to the Resistance.
In the mid 1970s, the feminist movement was newly ascendant. Julia and Lillian as screen characters epitomized sisterhood in the face of peril and reaction against progress. Their camaraderie glows from the screen. In art, they dramatized the reality of the ferment in society. They did more; in the film, Julia and Lillian presented a counter vision of how social change might proceed. The glow was the light of hope. Continue reading