"Julia" and "Lillian" have been best friends since childhood. Even as time has passed, the two have stayed in touch and remained affectionate. The former (Vanessa Redgrave) has found herself in Germany in the 1930s and is determined to do what she can to thwart the rise of the Nazis - or, at least, to help those in their sights to flee. To that end, she contacts her playwright buddy (Lillian Hellman, who wrote the screenplay based on her own book and played here by Jane Fonda) asking her if she could help move a rather large sum of money into the country for her to fund her ever more dangerous activities. What now ensues has Fred Zinnemann direct a train journey that has just about everyone - especially Miss Fonda - on the edge of their seats. Passport checks, customs checks - we know where the money is, but can she make it through? It's this stage of the film that offers us the most jeopardy and is really quite enthralling. Thereafter, it falls a little into melodrama and the intensity diminishes somewhat. That said, though, this sees a convincing effort from Jane Fonda and an engaging supporting one from her neighbour and confidante "Hammett" (Jason Robards). Redgrave actually features quite sparingly - but her scenes do go some way to reminding us of just how brutal and ruthless the regime was - and of how safety was definitely at a premium for any detractors. Georges Delerue has written a score that complements the story well - one which has a powerful degree of authenticity to it at times. The film looks good, there is plenty of attention to the detail of the production design and though it peters out a little at the end, is certainly a truth worth watching.

The great filmmaker Fred Zinnemann, in the twilight of his career, proved he could still direct with the best of them. Jane Fonda plays writer Lillian Hellman. Hellman is living a quiet life with her lover, Dashiell Hammett (Jason Robards), as she tries to pound out a play. The duo are a perfect match- hard drinking, hard smoking; Hammett is Hellman's mentor and support. Through Hellman's memories, we see a different side. Hellman was once friends with Julia (Vanessa Redgrave), a passionate and lonely girl who was admired by Hellman. The two have physically lost touch over the years, but still remain close through letters. Finally, Lillian tries to contact Julia. Julia leads Lillian into some pre-World War II anti-Nazi intrigue which tests the bounds of their friendship.

The most interesting aspect of the film is Fonda's portrayal of Lillian Hellman. She does an excellent job of being bold and confident around Hammett, but turns into an almost child-like, stuttering woman around Julia, and when involved with Julia's plan to smuggle money into Berlin to help out the Jews. Fonda does not seem a likely choice, physically, but she does well. Redgrave won the Oscar deservedly, especially when her character is not onscreen much of the time, or lying in bed bandaged and unable to speak. Robards is good, as is Maximilian Schell in a tiny role as one of Julia's co-conspirators. The supporting cast also includes familiar faces like Hal Holbrook, John Glover- who was also in "Annie Hall," that year's Best Picture Oscar winner, and Meryl Streep. Alvin Sargent's screenplay jumps back and forth in time, and Zinnemann keeps the viewer grounded. Every shot he makes is beautiful, the film looks very expensive, but there is a grittiness to the look that tells you Hellman's life was not all roses. "Julia" is a hard film to explain in one or two sentences. It concerns friendship, loss, sorrow, war, and chain smoking. It is one of the most underrated films of the 1970's, and my pick for the second best film of 1977 right after "Star Wars".