The Movie Review: 'Julie & Julia'

"Repeat after me," Julia Child's husband tells her in the opening moments of Julie & Julia. "Nous cherchons un bon restaurant Francais." "Repeat after me," Julie Powell's husband tells her a few minutes later, "Nine hundred square feet." This is the distance between the film's homonymic protagonists, between the palatial Parisian flat in which Child began writing her seminal Mastering the Art of French Cooking in the 1950s, and the dingy apartment above a Queens pizza parlor in which Powell began blogging her way through its 524 recipes in 2002.

Julie & Julia is, of course, less interested in economic differences than in what it perceives to be spiritual similarities--two women, half a century apart, who reinvent themselves, find meaning and self-confidence in the kitchen, and ultimately achieve fame and fortune. But as these two interwoven stories unspool, viewers may find themselves struck more and more by just how superficial the parallels are. Child and her coauthors, Simone Beck and Louisette Bertholle, revolutionized American cuisine; Powell wrote a blog for Salon.com that she subsequently adapted into a book. Child was a woman of unassailable enthusiasm and world-historical gregariousness; Powell, at least as portrayed in the film, was moody and self-absorbed. Child had a joyous, openly romantic marriage; Powell had a fraught one (indeed, ultimately more fraught even than the film conveys: Her second book, due out in December, describes the extramarital affair in which she indulged following the publication of the first). Julia Child, in short, is a hugely worthy subject for a biographical film; Julie Powell, no offense, is not.

As a result, Julie & Julia, written and directed by Nora Ephron, is a radically unbalanced undertaking. The Child portions of the film, in which Meryl Streep gives what may be the wittiest and most charming performance of her career, are a sheer delight. Streep neatly captures the outsized Child mannerisms that, for those of us born before 1970, approach the texture of genetic memory. But unlike, say, Cate Blanchett's Hepburn impersonation in The Aviator, Streep's performance evokes the underlying spirit as well: effervescent yet indomitable, a radical traditionalist. Child's rapture at her first bite of haute cuisine, a beautifully browned sole meuniere, is palpable; her subsequent culinary exhilarations ("French people eat French food every. single. day. I can't believe it," she gushes) are utterly contagious. And though Streep is at least a half-foot shorter than Child's vertiginous 6'2", Ephron uses a Peter Jacksonesque array of effects and angles to enhance her apparent altitude, and Streep mimics expertly her vaudevillian carriage.

As her husband, Paul, Stanley Tucci offers his customary wry wit but also a deeper reservoir of tenderness than he has generally been called on to display. Indeed, Julia and Paul's marriage is among the most appealing portraits of the institution since Nick and Nora Charles teased their way through six murder films in the 1930s and '40s. The Childs are mutually devoted and supportive, yes, but also committedly carnal, whether it's Julia's description of the lunch and "naps" with which the couple filled her midday breaks from Cordon Bleu training, or Paul's feisty translation of a tricky French recipe: "Bathe the thighs in butter and then stuff the hen.... until she just can't take it any more." I won't even relay the obscene simile Child deploys to describe the firmness and heat of boiled manicotti, but it's enough to make Judd Apatow blush. The couplings of this giddy giantess and her bald, bespectacled hubby will probably do more for sex in America than all the frictionless collisions of aerobicized abs that Hollywood inflicts upon us for the next decade.

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Christopher Orr is a senior editor and the principal film critic at The Atlantic. He has written on movies for The New Republic, LA Weekly, Salon, and The New York Sun, and has worked as an editor for numerous publications.

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