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Entries in Nora Ephron (13)

Thursday
Dec222016

Christmas Classics: "Mixed Nuts" (1994)

Team Experience has been sharing their favorite Christmas flicks. Here's Chris...

I'm going to make the assumption that most of you haven't seen my favorite Christmas movie, Nora Ephron's Mixed Nuts. "Classic" may be a stretch as it was both a box office and critical bomb, and has since been lost to time. The film has all of the makings of a cult following that has yet to materialize: a completely silly premise, insane moments, and a cast quite literally full of familiar faces. No really - the main cast includes Steve Martin, Madeline Kahn, Juliette Lewis, Liev Schreiber, Adam Sandler, and Rita Wilson. Anthony LaPaglia wears a Santa suit most of the movie. Even the throwaway parts are played by Rob Reiner and Joely Fisher.

But the film is an utter daffy farce with even more off the wall subplots than famous faces. Let's do a short run down of what makes the film so crazy and special...

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Tuesday
Mar292016

Doc Corner: Nora Ephron and Mike Nichols Get Posthumous Tributes on HBO

Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we’re looking at two biographical HBO documentaries about cinema legends.

Despite a resume that reads as limited, Nora Ephron's reputation over film and pop culture general looms large. Directed by her son, journalist Jacob Bernstein, there is likely little this new biographic documentary Everything is Copy that won’t be familiar to fans of the witty essayist/author/screenwriter/director’s work – not least of all when featuring old clips of Ephron narrating her own books directly the camera. But thankfully Bernstein’s film isn’t simply a rehash of his mother’s life, rather he occasionally finds minor nooks and crannies of her life that she herself hadn’t written about at length. Helped by words from her sisters and friends, an image of Ephron is formed that while no doubt glowing allows for us to learn even more about her than her famously candid words previously allowed.

Beyond all of that, first and foremost, Everything is Copy is an entertainment. A breezy and bright glimpse of a woman whose wit was matched by her scathing honesty and who left behind many works of cultural significance that are worth parsing over. 

New York movies, Nora's death, and a conversation with Mike Nichols after the jump...

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Monday
Sep282015

NYFF: Everything is Copy

Manuel here continuing our NYFF coverage with a documentary about the late great Nora Ephron, Everything is Copy. An HBO documentary, it played to quite the packed house last week with nary a dry eye in the house by its end.

Nora was…

 Kind. Open. Generous. Witty. Interesting. Funny.
Ambitious. Mean. Tough. Malevolent. Judgmental.

You’d expect the first half of those adjectives to make an appearance in the touching portrait of Ephron by her son, Jacob Bernstein. That Everything is Copy includes the latter half is what makes it a pricklier and much more fascinating exploration of the late writer and director. 

Quotes from Spielberg, Streep and more after the jump...

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Friday
Aug292014

When Harry Met Sally... (1989) Food for Thought

Anne Marie here on the 25th anniversary of a genre classic.

It is a truth universally acknowledged, that any romcom made after 1989 owes large thematic debts to When Harry Met Sally… From the Meet Cute to the Bickering Couple to the Final Romantic Gesture (usually involving holidays and/or running), When Harry Met Sally… set a template that has defined an entire genre, and--depending on who you ask--killed that genre as well. But despite the cliches, Rob Reiner and Nora Ephron’s Oscar-nominated comedy script continues to sparkle 25 years later, because it is not a movie about romantic gestures. It is a story about people; their observations, their oversights, and most importantly, their food.

Watching When Harry Met Sally… for the first time, you’d be forgiven for thinking New Yorkers do nothing but eat and argue. As Harry (Billy Crystal) and Sally (Meg Ryan) meet, separate, meet again, fall into friendship, and fall in love, they do so against an ever-rotating backdrop of restaurants and parties. (Apparently nobody in New York cooks at home either.) A lingering fear in romantic comedies--a genre about bringing people together--is the fear of being alone, and these are public spaces that force the characters to interact with each other and avoid the lonely New York death that Harry jokes about early on. Most importantly, these settings also givethem a chance to eat.

It comes as no surprise that the woman who would write Julie & Julia twenty years later would be so interested in how food reveals character. Ephron establishes both of her young characters through how they eat. Of course, Sally’s infamously detailed instructions to the first waitress immediately brand the young blonde as a perfectionist who likes control. Meg Ryan's best scenes are ordering from the menu, which she does with neither self-consciousness nor self-awareness, making Sally opinionated but not apolagetic, and somehow very funny.

Sally Albright: But I'd like the pie heated and I don't want the ice cream on top, I want it on the side, and I'd like strawberry instead of vanilla if you have it, if not then no ice cream just whipped cream but only if it's real; if it's out of the can then nothing.

Waitress: Not even the pie?

Sally Albright: No, I want the pie, but then not heated.

But Harry is also announced through his food, or rather through his bad manners while eating it. In their very first interaction sharing a car driving into New York, Harry introduces himself to Sally and the audience by talking through a mouthful of masticated grapes, and spitting grape seeds at the window. He’s messy, but he’s relaxed. (Minor characters also interact this way, including a brief fling of Harry's who is wrong for him because she bakes and he hates sweets, and Marie and Jess, who bond on a blind date over an article about wine.) Even when they're eating instead of talking, Harry and Sally are deliberately drawn opposites.

In between bites of food, Harry and Sally work as mouthpieces for Ephron’s musings and philosophies on relationships. When Harry Met Sally… plays as a series of dinner table debates interrupted periodically by plot, sex, or food. It’s a testament to Billy Crystal and Meg Ryan’s charming chemistry that they can make the discussion feel like action, and not just while banging on the table with fake orgasms. Harry and Sally discuss sex, loneliness, real estate, death, the ending of Casablanca, and anything else that pops into Ephron’s mind. 

Primarily, they concern themselves with one question: Can men and women remain friends? Or, to update it to 2014, “Is attraction an insurmountable obstacle to friendship?” Twenty five years later, it’s still a question that single people ask themselves. For the last few years, we've been hearing the supposed death knell of the romantic comedy, with the insistence that this genre is too cliche. But the fact that I had the friend vs romantic partner debate last week says to me that this foreboding may be a bit premature. The best new romcoms, like Obvious Child, are movies that carry on Nora Ephron's real legacy: some scattered observations, a question or two, and maybe a little bit of comfort food. 

Tuesday
Jan072014

Curio: Screenwriter Love

Alexa here. Josh Abraham is a man of many hats: writer, producer, cartoonist. At his etsy shop he sells some of his artwork that has a film spin; I particularly like his Manic Pixie Dream Girl print, which is updated to include Samantha from Her. In a series of prints he's titled "Screenplay Heroes," Josh has turned his had to sketching some famous writers like Woody Allen and the Coen brothers (in the running for Oscar noms again this year) onto pages of their screenplays. His vaguely Hirschfeld-esque portraits really lend themselves to the black and white pages.

I love the idea of displaying your favorites as a collection. Here are seven fine examples of his work from Nora Ephron to John August...

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