He gets great performances out of both newcomers (Annette Benning! Oliver Platt!) and the glorious company of character actors he stacks the cast with (Mary Wickes, CCH Pounder, Robin Bartlett, Anthony Heald, and the great Dana Ivey, to name a few). He helps Dennis Quaid shed his golden boy image to play an absolute dick, Jack Faulkner, the man whose bed Suzanne overdoses in (I’m sure Meg Ryan can relate). He’s the perfect director for Postcards from the Edge. The man was white-hot, nearly 25 years after his directorial debut. Just two years earlier, the fish-out-of-water comedy was both a massive financial and critical hit, launched Melanie Griffith into the stratosphere, and garnered six Oscar nominations, including Best Picture and Nichols final Best Director nod. In 1990, Nichols was coming off one of the biggest films of his career, Working Girl. So, it’s all the more surprising that Postcards sits in this in-between place of being “good” while not earning the following it deserves. Wounds are reopened, songs are sung, red gowns are worn. A recent accidental overdose has put Suzanne’s career in jeopardy, making her uninsurable unless she lives with her mother for the duration of filming. The book and film centers on the relationship between Suzanne Vale, an actress, was on the rise, struggling with addiction, and her overbearing mother, Doris Mann, a larger-than-life Hollywood legend. I’m here to fix that.Ĭarrie Fisher was not yet Hollywood’s most sought-after (and secret) script doctor when she adapted her debut novel, Postcards from the Edge for the big screen. I mean, can you even?) isn’t talked about all that much. A great film, which has stood the test of time, but considering its pedigree (Streep. Thirty years ago, Columbia Pictures released the sweet yet biting, semi-autobiographical Postcards from the Edge to critical acclaim, a number one perch at the box office, and, ultimately, two Oscar nominations.
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