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ON FAITH & MEDIA View Comments

Julie & Julia

By
John Mulderig
Source: Catholic News Service


Meryl Streep stars in a scene from the movie "Julie and Julia."
Post-World War II Paris and post-9/11 New York are the disparate settings for "Julie & Julia" (Columbia), writer-director Nora Ephron's charming, frequently funny portrait of two women who never met, but whose destinies were both shaped by one of the most influential books of the 20th century.
 
The volume in question, the 1961 blockbuster Mastering the Art of French Cooking, which revolutionized American attitudes toward cuisine, was the masterpiece of Julia Child (1912-2004), here played to marvelous effect by Meryl Streep.
 
As the film—which Ephron partly based on Child's memoir, My Life in France, written with Alex Prud'homme—opens in 1949, though Child's future as a master chef, a best-selling author and a fixture on public television lies well beyond the horizon.
 
Already present, and masterfully conveyed by Streep throughout, are Child's warm personality and endearing eccentricities of voice and gesture.
 
As her devoted husband, Paul (Stanley Tucci), begins work at the U.S. embassy in Paris, Child discovers the glories of French food, but broods about her future. A veteran of the wartime Office of Strategic Services, the forerunner of the CIA—through which she first met fellow OSS operative Paul—Child restlessly casts about for a pursuit that will keep her occupied.
 
When a hat-making class and instruction in contract bridge fail to do the trick, she turns to cooking lessons at Paris' famed Le Cordon Bleu, where she finds herself surrounded by ex-GIs who are none too pleased to have a woman join their ranks.
 
Fast-forward 50 years or so to Gotham, where Julie Powell (Amy Adams), a low-ranking official with the Lower Manhattan Development Corp.—the agency of first resort for survivors of the 9/11 attacks—finds relief from the stress of her work in the company of her supportive spouse, Eric (Chris Messina), and in the pleasures of cooking.
 
With her 30th birthday looming and her dreams of becoming a writer going nowhere, Amy, a devoted Julia Child fan, strikes on the idea of preparing all 524 recipes in her idol's most famous work over the course of a single year, and keeping a daily record of the experience with a blog.
 
Ephron, who also drew on Powell's 2005 book, Julie & Julia: My Year of Cooking Dangerously, whips up a delicious melange of memories, as the two principal characters dig deep for the courage to remake themselves. She also details the ingredients—ranging from passion to patience—requisite for a successful marriage, as Julia and Paul bear the burden of her inability to conceive, and Julie and Eric clash over her seemingly obsessive focus on completing her project.
 
The film contains fleeting nongraphic sexual activity, a few sexual references, a suicide reference, at least one use of the F-word and about a dozen crude or crass terms. The USCCB Office for Film & Broadcasting classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned; some material may be inappropriate for children under 13.
 
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Mulderig is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.


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Anthony Claret: The "spiritual father of Cuba" was a missionary, religious founder, social reformer, queen’s chaplain, writer and publisher, archbishop and refugee. He was a Spaniard whose work took him to the Canary Islands, Cuba, Madrid, Paris and to the First Vatican Council. 
<p>In his spare time as weaver and designer in the textile mills of Barcelona, he learned Latin and printing: The future priest and publisher was preparing. Ordained at 28, he was prevented by ill health from entering religious life as a Carthusian or as a Jesuit, but went on to become one of Spain’s most popular preachers. </p><p>He spent 10 years giving popular missions and retreats, always placing great emphasis on the Eucharist and devotion to the Immaculate Heart of Mary. Her rosary, it was said, was never out of his hand. At 42, beginning with five young priests, he founded a religious institute of missionaries, known today as the Claretians. </p><p>He was appointed to head the much-neglected archdiocese of Santiago in Cuba. He began its reform by almost ceaseless preaching and hearing of confessions, and suffered bitter opposition mainly for opposing concubinage and giving instruction to black slaves. A hired assassin (whose release from prison Anthony had obtained) slashed open his face and wrist. Anthony succeeded in getting the would-be assassin’s death sentence commuted to a prison term. His solution for the misery of Cubans was family-owned farms producing a variety of foods for the family’s own needs and for the market. This invited the enmity of the vested interests who wanted everyone to work on a single cash crop—sugar. Besides all his religious writings are two books he wrote in Cuba: <i>Reflections on Agriculture</i> and <i>Country Delights</i>. </p><p>He was recalled to Spain for a job he did not relish—being chaplain for the queen. He went on three conditions: He would reside away from the palace, he would come only to hear the queen’s confession and instruct the children and he would be exempt from court functions. In the revolution of 1868, he fled with the queen’s party to Paris, where he preached to the Spanish colony. </p><p>All his life Anthony was interested in the Catholic press. He founded the Religious Publishing House, a major Catholic publishing venture in Spain, and wrote or published 200 books and pamphlets. </p><p>At Vatican I, where he was a staunch defender of the doctrine of infallibility, he won the admiration of his fellow bishops. Cardinal Gibbons of Baltimore remarked of him, "There goes a true saint." At the age of 63, he died in exile near the border of Spain.</p> American Catholic Blog The greatest tragedy of our world is that men do not know, really know, that God loves them. Some believe it in a shadowy sort of way. If they were to really think about it they would soon realize that their belief in God’s love for them is very remote and abstract. Because of this lack of realization of God’s love for them, men do not know how to love God back. —Catherine de Hueck Doherty

 
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