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Gilbey on Film: Nora Ephron, 1941-2012

A genius for intimacy.

Nora Ephron
Making it look easy: Nora Ephron. Photograph: Getty Images

Until a few years ago, I had foolishly put the late writer-director Nora Ephron  in the same pile as various purveyors of apparently soft-hearted, soft-headed and - okay I’ll come clean - female-oriented romantic comedy such as Nancy Meyers, Penny Marshall and the screenwriter Ron Bass. Why? After all, I had loved Ephron’s screenplay for When Harry Met Sally and I have to come to see over the years that the buoyancy and the canny modifications of You’ve Got Mail, which she also directed, exempt that film from being tarred with the bad-remake brush (it’s based on Ernst Lubitsch’s The Shop Around the Corner). But there is so much information out there that we are all guilty of such filing oversights. You put the bailiffs’ letters with the school reports and then where are you? As for the cupboard under the sink, let’s not go there. (Really, let’s not.) Personally, I have a blind spot for Tobys. With all respect to the excellent Toby Litt, I’ll sometimes see his name in the NS and wince slightly, when in fact the cause of my discomfort is (you’re ahead of me here, aren’t you?) Toby Young.

Fortunately, a friend put me right on Nora Ephron. There I was blabbing about her fantastically precise parody of The Girl with the Dragon Tattoo (I’ve linked to “The Girl Who Fixed the Umlaut” before on here, but it bears any amount of re-reading) and opining loudly and without the necessary evidence that her other work hadn’t shown such vim, when his face became fixed in a sorrowful expression which screamed “How little you know.” A copy of Heartburn was soon pressed into my hands, which forced me to let go of my preconceptions. This is a roman-à-clef based on Ephron dealing with her distressing divorce from her unfaithful second husband, the journalist Carl Bernstein. It’s acidic without losing its sweetness, light but necessarily angry, the words perfectly weighted - like all her best screenwriting and journalism. There was also a film of Heartburn, directed in 1986 by Mike Nichols, scripted by Ephron (who had written Silkwood for Nichols), starring Meryl Streep and Jack Nicholson and with songs by Carly Simon. My advice is stick with the book.

Her other films include Mixed Nuts (a listless remake of the popular French comedy Le père Noël est une ordure), Sleepless in Seattle, a big-screen version of Bewitched starring Nicole Kidman and the recent Julie and Julia, which plaited together the stories of the cookery guru Julia Childs (Streep again) and a fictional Manhattanite (Amy Adams) taking on Childs’s Mastering the Art of French Cooking. For me, her best work remains When Harry Met Sally and the essay collection I Feel Bad About My Neck: And Other Reflections on Being a Woman. Here she is speaking to DGA magazine in 2009 about the challenges of the rom-com:

Romantic comedies are very hard. They look as if they should be easy, but they’re hard because there’s nothing you can depend on. I mean, you don’t have car chases or anything like that and, really, you don’t have plot in the way we understand that term—we all know pretty much from the start what the end of the movie is going to be. Romantic comedies are hard to do, but so are all movies. Movies are so hard, and they’re harder than ever because it’s so hard to get them made now, and so hard to do anything remotely unconventional, because that scares people to death.

Her preference, she said, “would be to do a movie with a small number of people sitting in rooms and talking. This is my dream.” I think she captured precisely that intimacy, strongly felt even among a packed and giggling cinema audience.