Le temps d'un été

I saw the Broadway production with Estelle Parsons (Violet); John Cullum (Beverly); and Elizabeth Ashley (Mattie Fae) in 2008. I had read the play prior so I knew the surprises but it didn't take away from the play. The film does justice to the story even with forty minutes edited out of time. The film casting here is perfect but I wonder what the original cast would have added to the film adaptation. While Meryl and Julia earned their nominations, I felt that Deanna Dunagan and Amy Morton deserved their chance on the big screen as Violet and Barbara. Margo Martindale did a fine job as Mattie Fae but Rondi Reed would have been the original. While the film stays true to the story, Meryl is believable as the toxic Violet Weston. Julia Roberts has matured as an actress and can stand in a scene with Streep or anybody else. The film and stage version is not for immature audiences as the writer touches on sensitive subjects. The stage production featured a three story set where it can be difficult for a community theater. The film doesn't need to worry about that issue. The film moves through at a good pace but you wonder about what happened to the family after.

Greetings again from the darkness. Tracy Letts had a very nice year in 2008. He won the Pulitzer Prize and a Tony for writing the play August: Osage County. Since then, he has also written the play and screenplay for Killer Joe, and been seen as an actor in the key role of a Senator in the TV show "Homeland". This time out, he adapts his own play for director John Wells' (The Company Men, TV's "ER") screen version of August: Osage County.

With an ensemble cast matched by very few movies over the years, the screen version begins with what may be its best scene. Weston family patriarch and published poet Beverly (the always great Sam Shepard) is interviewing Johnna for a position as cook and housekeeper when they are interrupted in stunning fashion by Violet (Meryl Streep), Beverly's acid-tongued wife who is showing the effects of chemotherapy and her prescription drug addiction. This extraordinary pre-credits scene sets the stage for the entire movie, which unfortunately only approaches this high standard a couple more times.

Despite the film's flaws, there is no denying the "train-wreck" effect of not being able to look away from this most dysfunctional family. Most of this is due to the screen presence of a steady stream of talented actors: in addition to Streep and Shephard, we get their 3 daughters played by Julia Roberts (Barbara), Julianne Nicholson (Ivy) and Juliette Lewis (Karen); Ewan McGregor and Abigail Breslin as Roberts' husband and daughter; Margo Martindale (Violet's sister), her husband Chris Cooper (Charles) and their son Benedict Cumberbatch.

As with most dysfunctional family movies, there is a dinner table scene ... this one occurring after a funeral. The resentment and regret and anger on display over casseroles is staggering, especially the incisive and "truth-telling" Violet comments and the defensive replies from Barbara. As time goes on, family secrets and stories unfold culminating in a whopper near the end. This is really the polar opposite of a family support system.

Meryl Streep's performance is one of the most demonstrative of her career. Some may call it over the top, but I believe it's essential to the tone of the movie and the family interactions. Her exchanges with Julia Roberts define the monster mother and daughter in her image theme. They don't nitpick each other, it's more like inflicting gaping wounds. Surprisingly, Roberts mostly holds her own ... though that could be that the film borders on campy much of the time. Streep's scene comes as she recalls the most horrific childhood Christmas story you could ever want to hear.

It must be noted that Margo Martindale is the real highlight here. She has two extraordinary scenes ... each very different in style and substance ... and she nails them both. Without her character and talent, this film could have spun off into a major mess. The same could be said for Chris Cooper, who is really the moral center of the family. While the others seem intent on hiding from their past, he seems to make the best of his situation.

The film never really captures the conflicting environments of the old Weston homestead and the wide open plains of Oklahoma. The exception is a pretty cool post-funeral scene in a hayfield where Roberts tells Streep "There's no place to go". The main difference between the film version and stage version is the compressed time and the decision to include all explosive scenes. There is just little breathing room here. Still, it's one of the more entertaining and wild dysfunctional comedy-dramas that you will see on screen, and it's quite obvious this group of fine actors thoroughly enjoyed the ensemble experience.

Though nearly 40 minutes of Tracy Lett's Pulitzer Prize winning dramedy have been shaved for the screen version, "August: Osage County" still manages to deliver on the towering play's hearty laughs, gasp inducing shocks, and well earned tears.

While it is hardly the best adaptation of a play to a film, as much of the film still retains it's indoor, staging setting, it is boosted by some sterling performances of actors at the top of their craft. Chris Cooper and Margo Martindale are stellar, playing off each other with deft and precise timing. Julia Roberts has not had this good of a role in... ever, and she mostly delivers. Julianne Nicholson is both quiet yet fiercely determined as middle daughter Ivy. Sam Sheppard is amazing in the even more truncated role of the Weston family patriarch who goes missing, and Misty Upham is so good with so little to say as the young Indian woman, Johnna, tossed into a family in turmoil.

Of course the turmoil is led by the Medea-of-the-Midwest, Violet, played for every ounce by Meryl Streep in one of her most indelible performances ever. While viewers will surely be talking about the "infamous" post funeral dinner scene, the price of admission should be had for Streep's monologue late into the "second act," where she sits with her daughters on a swing set and discusses the worst Christmas ever: an acting class with the full gamut of emotion.

Viewers may be equally divided by spending 130 minutes with such unhappy people, but there are plenty of dark laughs in Letts' screenplay to alleviate the tension. And with actors these good interpreting the parts, "August: Osage County" is easier to swallow than some awkward family dinners we've all had to attend at some point in our lives.

"August: Osage County" was adapted by its own playwright Terry Letts into a screenplay. I have not seen the play yet, but am looking forward to seeing one in a few months from now. The standard set by the ensemble of actors in this film will be so hard to top.

This play is set in an Oklahoma town on one warm summer. Violet Wetson (Meryl Streep) reunites with her three willful daughters, Barbara (Julia Roberts), Ivy (Julianne Nicholson) and Karen (Juliette Lewis) when there was a death in the family. Fireworks fly when family secrets are revealed as mother and daughters clash.

Meryl Streep is again in top form here as a dysfunctional wife and mother made worse by her dependency on drugs given for her cancer. This role has Oscar written all over it, and Ms. Streep again grabs this bull by the horns. She is one scary virago here, one you would not want to meet in real life. To even imagine someone like her to be your mother is unthinkable.

Julia Roberts plays the eldest daughter Barbara with restraint until that post-funeral lunch when her top blows up and all hell breaks loose. We see a mature and gritty Julia here, going full circle from her first Oscar nomination with another family-oriented play turned film "Steel Magnolias." Ewan McGregor plays her husband Bill who loves her but can't stand her. Abigail Breslin plays her 14-year old daughter Jean, who is trying to grow up faster than she should.

Juliette Lewis plays another quirky and flighty character here. It seems only these types of roles fit her unusually unique face. Her Karen brings home a much-older fiancé Steve (Dermot Mulroney) with fast sports car and stash of pot.

Julianne Nicholson plays the daughter who stayed home to take care of her parents, Ivy. It seems she has been around for a long time, but this is the first film that I have taken notice of her. Her character has secret dreams and desires that could not take off because she is trapped in her situation in life, and Nicholson portrays that pain and frustration very well.

We will also meet Violet's fussy and nosy sister Mattie Fay, played by Margo Martindale. Her husband Charles is played by Chris Cooper, who is quietly dignified through most the film, until he had his own confrontation scene with his wife. Their son shy and insecure "Little" Charles is sensitively played by Benjamin Cumberbatch. This 2013 has really been a big debut year for Cumberbatch with diverse roles in big films like "Star Trek In Darkness", "12 Years a Slave", now this one.

This may not be for all because of the depressing family squabbling going on for two hours. However, I thought the dialogues were really darkly witty in their bitterness and spite. The main reason to watch this film though would be the masterclass in ensemble acting. Seeing all these actors interact together enhancing each other's performances is the big positive in watching a film like this.

Granted, I wouldn't last five minutes with this bunch. But having grown up with people not unlike this, I found the parrying and thrusting to be quite real. These characters are all inflicted with the same disease; they need love and drill for it, but they are incapable of letting go of their submerged self-hatred and continue to bring each other down. If you can get past that, you can sit and watch the disaster happen and appreciate some really intense performances. Black comedy is not "funny" the way that farce or physical comedy are. Black comedy draws its strength from seeing our lives as absurd and unfulfilled and still going on. Sartre thought that we all had had a terrible joke pulled on us. If we live in this septic tank, bless us. If we can rise above it, bless us too. The dialogue is real, the awful failure to express love and respect is well presented, painful as it may be. While this was not a pleasant experience, I could not take my eyes off the principles. I think about this movie all the time which means it must have got to me.