![]() ![]() She has her addiction problems, her turmoil with her over-protective mother, but she also lets loose, enjoying romantic flings with a handsome young producer (Dennis Quaid) and goofing around on movie sets (the shot of her pretending to hang off a high-rise balcony is a great one). As ridiculous as it may seem, up until 1990, Meryl had neglected showing herself on film simply as a modern-day American too often, and it's refreshing to see that simple side of her in Postcards From the Edge. This would be their last motion picture together (they worked together one last time on the HBO mini-series Angels in America, in 2003), and once again, Nichols was able to bring out sides of Meryl that she had never shown before. They first collaborated on Silkwood in 1983, and then again on Heartburn in 1986. Meryl has often said that Mike Nichols is one of her favorite directors to work with. (Janet Leigh also reportedly wanted to play Doris, with her real-life daughter Jamie Lee Curtis playing Suzanne. Reynolds desperately wanted to play the role of Doris in the movie, but director Nichols had his eye on MacLaine from the start. The script was written by Carrie Fisher, based on her novel, which has, she has even admitted, similarities to her own life with her actress mother, Debbie Reynolds. The two rarely see eye-to-eye, and so Postcards From the Edge scores with a ferocious bite the most when these two gifted actresses square off against each other in a few memorable scenes. ![]() To get insurance on her next movie, she is forced into living with her drunk of a mother (Doris). But it's also hilarious at times, too, the story of a troubled, A-list actress named Suzanne who overdoses on pills and ends up in the hospital, then rehab. Of course, of the four comedies she made during this time, Postcards From the Edge is the one that's more serious, featuring plenty of powerful dramatic scenes. ![]()
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