Postcards from the Edge (1990)

7/10

slokes30 May 2007

Luke Skywalker is not the only member of the Star Wars gang with parent issues. Carrie Fisher, the actress who played Princess Leia, channeled hers into a novel that became another winning Mike Nichols domestic comedy, "Postcards From The Edge."

Meryl Streep stars as Carrie alter-ego Suzanne Vale, a once-successful actress trying to restart her career after a near-fatal O.D. Her mother, a screen legend in her day named Doris Mann (Shirley MacLaine), happily takes on the responsibility of overseeing Suzanne's recovery, especially given the attendant oversight she gets on daughter's life and career.

"I really hate that you have to go through this," Doris sighs upon visiting her daughter in the rehab clinic. "I wish I could go through this for you." MacLaine gives, frame for frame, the best performance in the film, one of her best ever. She and Streep seem to feed off the best aspects of each other's prior screen work, Streep picking up on MacLaine's sass and comedic chops, MacLaine on the way Streep can give you a sea of sadness through just a flickering gleam in her eyes.

Streep's comedy turn is the big surprise here, especially given how successfully she pulls it off. No dingoes running off with babies in this production. Nichols helps by putting her in situations that are very un-Streepish, like being threatened by cheesy "Scarface" extras or inhaling Fritos. Whatever the props, Meryl herself makes me laugh, something I never expected. Not that she lays back. Her gift for inhabiting others' skin is on fine display, as she gives Suzanne Carrie Fisher's wry intonations and wan half-laugh.

You can hear the connection on the DVD commentary; a candid, amusing piece by Fisher in which she explains the background of "Postcards," why she considers it "emotionally autobiographical" in the way it deals with her own past drug issues and especially her relationship with her movie-star mother, Debbie Reynolds. At the same time, it's fictional in many key details.

Fisher's clever Hollywood-dream-factory send-up of a script gives MacLaine and Streep plenty of great lines that pop off the screen like cherry bombs. "Instant gratification takes too long," Suzanne whines. "I know you don't take my dreams seriously, even when I predicted your kidney stones," crows Mom.

The film does get rather pat in the second half, especially when both bond by rounding on Suzanne's ancient grandmother (Mary Wickes). Given that Suzanne's the central character, and the one with the drug problem, more effort should have been made on exposing her flaws and weaknesses, rather than making her seem the most normal character in the story. Fisher makes this point herself in her commentary, wishing she was "tougher" on Suzanne.

"Postcards" is most effective when it focuses on the paradox of how these people perform so well in the limelight and so clumsily outside of it. "We're designed more for public than for private," is how Suzanne puts it at one point. Some comments here complain of too many musical numbers, but of course entertaining is what these women live for. Watching Suzanne watch her mother sing "I'm Still Here", realizing for an instant that a throwaway line in the song is really a cry of pain over Suzanne's way of life, and finally responding, silently but in a nakedly emotional way, communicates all you need to know about how much these two people love each other, beneath their banter and blame.

Such subtle touches allow Streep, MacLaine, and Nichols to keep the longer dialogues crisp and funny. You may have a hard time understanding the lives these people lead, but you will enjoy their company.

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7/10

Triumph For Fisher

Cheetah-615 February 2002

Great performances by Meryl Streep and Shirley MacLaine. They are both hilarious and poignant in this Carrie Fisher story about a show business daughter coming through the process of working out emotional trauma and baggage in relation to her mother, upbringing and subsequent addiction problems. Also especially good is Gene Hackman in a small supporting role and a cameo by Rob Reiner. Streep and MacLaine carry this film with their talents and are very entertaining as they confront each other and themselves about personal flaws and foibles. What makes this work so well is the smart and oblique humor that is employed to address the internal pain of the main character. I also liked the little jabs at the movie industry itself as well as its nonchalant way of revealing some of it's visual tricks too.

One particular touching and bittersweet scene is between Hackman (as movie director) as he comforts Streep (an actress he's working with) with a sort of lighthearted understanding and encouragement to overcome her drug addiction as he builds her up with appreciation of her talent.

Considering the obvious autobiographical nature of this story for Fisher, it would appear to be sort of a catharsis for her. She does a good job in bringing painful personal issues to light with humor through her writing. Personal pain and demons often seem to be the source of great art and entertainment as well as amusement for many artists and through their art, for the rest of us as well. This is a case in point and definitely worth the time.

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7/10

Autumn Sonata Hollywood Style

claudiaeilcinema30 December 2007

Debiee Reynolds/Carrie Fisher or MacLaine/Streep? It doesn't really matter. A comedy that swims around a theme without ever getting anywhere. To see Streep and MacLaine together is enough to make this a collector's item. The cheerful side of the Ingrid Bergman/Liv Ullman grim Ingman Bergman "Autumn Sonata" I know that Carrie Fisher with her American wit was telling us something, something personal but did it have to be so shallow? There is nothing about this characters with a hint of depth. Drugs and alcohol part of a culture in permanent denial. Maybe that's what it is. We're witnessing the replicas of what used to be human beings. The hurt is so flimsy. He may have told a million women that they smelled like Catalina, so what? Didn't she notice the phoniness in Dennis Quaid's smirk? I had to rush and see "Plenty" and stare into Meryl Streep's face to be reminded of her greatness. Not that she's bad here, not at all, she's wonderful, it's the character that made me recoil in horror. Okay, enough of that. the combination of MacLaine and Streep is terrific and the film will keep you entertained even if, like in my case, will leave you with a toxic aftertaste.

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This movie TWIRLED UP!

Heidi-1513 March 1999

This is a very addictive movie. It got me hooked on its genuine and rich characters, sassy and intelligent dialogue that made fun of a serious subject. The performances were spectacular, not only by Streep and Maclaine, but also by the veteran Mary Wickes, Dennis Quaid and Robin Bartlett as Aretha ("my parents expected me to be black"). All of the cameos were enjoyable and added SO much to this fabulous film. It's refreshing to see Streep do something where you don't need to buy out a store's tissue supply to get through the movie. And Maclaine shines as this disturbed yet determined matriarch. I like almost everything about this film. Especially the singing at the end, and Maclaine's rendition of "I'm Still Here"

Great Movie!

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7/10

Nothing heavy here, but such virtuosic lightweight brilliance!

secondtake28 August 2010

Postcards from the Edge (1990)

Mike Nichols is as close to a William Wyler as the New Hollywood (post-1967) gives us. His movies are both impeccable and emotionally taut. They feature the very best production values and impressive acting. And they take chances carefully, which isn't actually an oxymoron. Nichols knows he's pushing boundaries, but within the established forms. Even this movie, with its insider look at Hollywood, feels ingenious in a safe way, with echoes of "The Bad and the Beautiful" but with everyone toned down to a perfect realism.

One of the tricks of this movie, which is a little over the top in so many small ways (again, careful restraint all around), is keeping the acting believable. And foremost is Meryl Streep, lovable and sympathetic but not quite admirable or otherworldly the way older generation actresses so often get portrayed. Streep as a drug-troubled actress is a wonder, and right behind, with deliberate hamminess, is the woman playing her mother, Shirley MacLaine. Add Gene Hackman and Richard Dreyfuss in smaller roles, a cameo by Rob Reiner, and a pretty boy role for Dennis Quaid, and you can see there is something cooking here.

So why isn't this a great movie? It has the trimmings of greatness, even beyond the acting. Story by Carrie Fisher, music written by Carly Simon (and performed by the cast). Photography by German import Michael Ballhaus (who by the 1990s was also working for Coppola and Scorcese).

Well, some might say it really is great. Even though it is lightweight, even airy as a farce, and even though it leaves you only slightly glad, or happy, at the end rather than transformed, you could argue that Nichols intended something with this flavor, and achieved it. Could be. But for a simple example, take his second movie, "The Graduate," and notice the same tone, humor and irony laced with important topical and emotional strains. How different the effect there, and maybe for a couple of reasons. One, I think, is the subject matter here is the famously glib, plastic, unsympathetic world of overly rich, tabloid saturated Hollywood itself. Another is the inherent plot. What happens? A woman overcomes her addiction to star in another movie, and she seems to move a little forward in her relationship with her mother. Enough? Maybe not.

But knowing it's not trying to change the world, you might appreciate the illusory nature of the medium, exposed for us in a whole bunch of different ways (moving props, back projection, doubles used for blocking and framing, lights and camera in action, screening rooms and overdubbing, and so on. This is the stuff behind the drama enacted by Streep and MacLaine and the rest. It's worth watching in its own right.

And Nichols and Ballhaus have filmed this to glossy perfection, layering and moving and keeping the long takes going as long as possible (with an apology by Hackman, as a movie director, to Streep, the actress playing the actress, for using such long takes all the time). It's almost as if Nichols is making fun of himself, and the excesses that cause the cast and crew to go a little crazy.

Brilliant and entertaining? Completely. Probing or socially satirical in any way? No, not even into Hollywood, which is safely behind all these layers. Still, a film not to miss.

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7/10

Wonderfully Nutty

spinbunny8 March 2003

Meryl Streep is just about the best actress around and this, I think, is one of my favourite performances by her. (so far). Why? Because she is not playing her usual self -- she is a total nut case in this film --- neurotic and downright hilarious. Much like 2002's "Adaption" she is playing against her normal dramatic type and is a wonderful comedienne -- a role she should play more often --- actresses usually playing actresses usually are not memorable --- this is a "keeper" role --- and what a voice. (had she not been an actress, she could give most singers these days a run for their money!) Do rent it and laugh --- it is worth the trip to the video store!

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6/10

Lots of style and canny one-liners, but too often the director is just winging it...

moonspinner556 November 2005

Screenwriter Carrie Fisher adapted her own book--about an actress in drug rehab--into this film about a drug-addicted actress and her alcoholic movie star mama, and the two barely resemble each other. No matter, because director Mike Nichols stages the behind-the-scenes/show-biz material very well (he's visually clever, with a humorous wink to the audience). However, it's momentarily disappointing that the film is so lightweight and doesn't strive to be more substantial, or that Meryl Streep hasn't really zeroed in on her character (she spends much of her time being comically frazzled). Streep's scenes with mother Shirley MacLaine are colorful and well-written, but her interludes with smug lover Dennis Quaid are embarrassing, with both stars spitting out silly lines of dialogue--and Nichols and his editor just letting them ramble. A plot-thread about Streep's shady business manager is brought up only to be forgotten about (we meet the man in question early in the film and he appears to be a forthright person of integrity), while the finale is a musical dead-end (is it supposed to be part of a movie or a music video?). Streep does an amiable Wynnona Judd impersonation here--and even resembles her!--but the picture is thin (it is exceptional, perhaps, only in its thinness). Gene Hackman as a director has a forceful moment at the beginning before he's turned into an understanding daddy, while Richard Dreyfuss plays a doctor who pumps Streep's stomach and sends her flowers the next day. Fisher and Nichols stay soft; they never get offensive or edgy--and maybe that's part of the problem. **1/2 from ****

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7/10

They're both still here!

mark.waltz16 February 2016

Warning: Spoilers

A quarter of a century has passed since the teaming of two major divas of the past fifty years of cinema: Meryl Streep and Shirley MacLaine, playing fictional characters loosely based on Carrie Fisher and Debbie Reynolds. Streep is a "B" movie actress struggling with various emotional issues which has lead her to become addicted to not only prescription medication, but illegal drugs such as cocaine as well. She's rushed to emergency after a bad day on the set where somehow she ended up in the bed of a stranger, took an overdose of pills, and he literally carries her out, straps her into his jeep and gets her to the emergency room, dropping her off as if he was returning a library book. She must then deal with getting her stomach pumped, going through withdrawal, and then finally going to rehab. And guess what, ladies and gentlemen. This is a comedy, all told through allegedly real life incidents by author Carrie Fisher, once Princess Leia, now a sardonic commentator on her own life and not even quite the "B" actress that Streep plays here.

Just as Streep deals with being introduced to her rehab group, she gets a visit from her overly made-up but still glamorous movie star mother (Shirley MacLaine), a legend of the golden age who is indeed still here. "My mother drew up the contracts, so I'm here!", she sings in an altered version of Stephen Sondheim's brilliant "I'm Still Here" from "Follies". Mom Shirley gave daughter Meryl sleeping pills as a kid, which Streep blames MacLaine for causing her drug addiction. Is it wishful thinking or wishful drinking on Streep's part, "Wishful Drinking" being the name of the very funny book which Carrie Fisher later did on Broadway and had filmed for cable T.V. as more comical observations about her life. Toss into the mix grandma Mary Wickes as MacLaine's own "monster" of a mother, lovable maybe to those who know her socially, but definitely somebody you'd think twice about as wanting for your mama. Conrad Bain ("Maude", "Different Strokes") simply retorts to Wickes' constant chattering with "Yap Yap Yap, That's all you do all the live long day". Their delightful two scene cameo is an enjoyable commentary on the issues of different generations. Just like Jennifer Lopez had to tolerate a nasty mother-in-law to be (Jane Fonda) in "Monster in Law", Fonda had to tolerate a former nasty mother-in-law (Elaine Stritch) who got revenge on her daughter in law by simply adoring Lopez from the moment she met her. Unlike "Monster in Law", however, "Postcards From the Edge" utilizes the issues of two daughters dealing with mother issues in a realistic and understanding way, rather than adding hate into the plot line simply for uncomfortable laughs.

While some of the script seems to focus on "the blame game", it is more about two women who are trying the best they can to understand the other, move on from bitter memories, and get past issues that have taken their life out of control. MacLaine's character has a bit of a drinking problem, gets into a car accident and like Streep, ends up in the hospital, minus wig and make-up, and looking like Elsa Lanchaster in "The Bride of Frankenstein" after being caught in a thunderstorm. The two actresses let it all bare out here, unafraid to go into places most actresses might be scared to go, especially of MacLaine's era. Streep's attempts to even get through the simplest of movie shoots proves futile, with director Gene Hackman laying into her with all the crassness that Hollywood has to offer. Cameos by Rob Reiner, Richard Dreyfeuss and Annette Benning add to the realistic issues of Streep's tumbling life, with Dennis Quaid giving a very good performance as the actor who seduces the unknowing Streep, pretends to be an old high school friend when she doesn't recognize him, and ultimately a heel after Streep finds out that he had also been sleeping with Benning. Streep deservedly got an Oscar Nomination, but in one of the worst examples of Academy Award criminology, MacLaine was overlooked, that being the biggest shocker of the year. Fisher, too, should have been honored for her screenplay, as should have been Mike Nichols for one of the best directing jobs he had done since "Who's Afraid of Virginia Woolf?".

Streep gets to show off her excellent singing voice here, performing two songs (including one triumphant declaration of independence in the finale) while MacLaine bangs the heck out of "I'm Still Here" (in D-Flat) as she explores her own regrets. It's ironic that a decade later, MacLaine would work again with Carrie Fisher and the real deal of who she plays here (Debbie Reynolds) in the amusing but mediocre T.V. movie "These Old Broads". In both films, Fisher explores the adoration that "these old broads" receive from the gay community, as evidenced by an encounter that MacLaine has with a rehab patient who happens to do one of MacLaine's old movie characters (obviously based upon Reynolds' Oscar nominated "Molly Brown") in drag. In typical comically bitter fashion, MacLaine gets in a bitchy line ("You know how the queens love me", she tells Streep") while the gay man tells his lover how obvious MacLaine's plastic surgery is, although in a very affectionate but knowing manner. This film isn't perfect, and might strike some as a bitter attack on Hollywood's treatment to aging divas or has-beens, but if we got that with "Sunset Bouevard", why couldn't it be done 40 years after Norma Desmond got ready for her close-up?

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10/10

One of the best American screenplay of the last 50 years.

stefans698 April 2005

This is easily one of the best American films of the 90s and certainly one of the best screenplays of the last 50 years.

Carrie Fisher writes dialogue like nobody else in show business and she outdoes herself with this semi-biopic about her life growing up in the biz with her actress Mom, Debbie Reynolds.

The film is loosely based on the novel of the same title by Fisher, and I say "loosely", because Nichols asked Fisher to re-write several parts to make them more "film-friendly". The book is more about drug addiction and the character of the mother (played brilliantly by Shirley MacLaine) is barely involved.

The film focuses (smartly) on the relationship between mother and daughter and Maclaine and Streep have a field day and create some of the most memorable mother-daughter scenes in American cinema history, thanks to the able direction of Mike Nichols. Dennis Quaid is also wonderful as the narcissistic drug addicted man that plays with Streep's character's emotions.

This is one of my all time favorite films, it's the only film on my top 10 list made in the last 25 years, and will be remembered for generations to come as the gem that it is. The screenplay is so amazing that about 80% of the dialogue is totally quotable and can be repeated ad nauseum to the delight of its fans (and annoyance of their relatives and significant others).

Wonderful cameos from everyone from Mary Wickes, Rob Reiner, Gene Hackman, Annette Benning, Oliver Platt and more...if you can get your hands on the DVD with Carrie Fisher commentary, it's just as hilarious as the film itself. The woman is a genius and it's a crime she wasn't nominated (or won) an Oscar for Best Screenplay for this film.

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6/10

some great scenes

SnoopyStyle10 April 2016

Drug-addicted Hollywood star Suzanne Vale (Meryl Streep) is working for director Lowell Korshack (Gene Hackman). She showed promise early but her career has spiraled down. Former classmate Jack Faulkner (Dennis Quaid) brings her to the ER after she OD'ed. Dr. Frankenthal (Richard Dreyfuss) pumps her stomach. Aretha (Robin Bartlett) is her roommate in rehab. Doris Mann (Shirley MacLaine) is her stage mom and a hard-drinking Hollywood legend. The insurance company for her movie demands that she stays with her mother.

This is written by Carrie Fisher as a thinly veiled biography of her life with her mother Debbie Reynolds. There are great memorable moments like Suzanne overhearing the crew ridiculing her. The plot meanders too much and lacks a direction. There are terrific bits of scenes but the whole doesn't build to something better.

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5/10

Glossy And Shallow Characters

Lechuguilla15 April 2010

The first five minutes are fine. And the film's eight-minute musical finale exudes terrific country/western spirit. But, in between, the characters reek of a glossy shallowness characteristic of a script that is not well fleshed out.

Flighty, ungrateful Suzanne Vale (Meryl Streep) is a young actress hooked on drugs, and lorded over by her annoyingly controlling, alcoholic, show-biz mother named Doris Mann (Shirley MacLaine). Their bumpy relationship provides the main thrust to the plot, as pill-popping Suzanne tries to continue her acting, while judgmental Doris imposes herself on Suzanne, as a kind of career counselor. Around these two swirl an assortment of photogenic Hollywood types, who initiate or aggravate various conflicts between Suzanne and Doris.

One would think this setup would imply a drama. Not here. The film tries to be a comedy. Some of the dialogue is indeed funny. But the comedy element contradicts the painful plight of the script's two main characters. In addition to their substance abuse problems, both Suzanne and Doris are so wrapped up in themselves, so self-centered, they're hard to root for.

The film's acting generally is overdone, at times hammy, the most egregious example being Dennis Quaid. Production design is credible. Color cinematography is conventional, but competent.

The story premise had merit. But Director Mike Nichols and writer Carrie Fisher needed to give a little more thought to the characters in this story, all of whom come across as glib, shallow, cosmetic, superficial, devoid of depth. Comedy can indeed be integrated with serious topics. But in the case of "Postcards From The Edge", it needed to be integrated with a little more finesse.

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9/10

Meryl Streep is a comic genius!

Julia_Davis11 November 2003

Meryl Streep, cast against type in a comedic role plays Suzanne Vale, an actress struggling with drug addiction and a difficult relationship with her alcholic has-been singer/actress mother played by Shirley McClaine. The film starts with Vale, making a film, high as a kite and making a mess of her scenes, then she overdoses and is put into rehab.

Following her rehab stint, she is forced to live with her mother in order to be able to keep her job on a new film. Her mother tells her that she is making all the wrong career moves, stays up all night waiting for to come home from a date and generally otherwise makes her life very difficult. I won't give away anymore of the plot than that. Streep and McClaine are amazing here, and suprisingly, Streep can sing, very well.

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6/10

Void at the centre

edgeofreality10 February 2021

A good supporting cast and director, and a pleasantly ironic view of Hollywood life, can't quite save this from the perfectly soulless, textbook actress Streep totally miscast as the insecure (and infinitely sexier, more intuitive actress) Fisher. I never believed for a minute this woman was vulnerable: Streep is a ballbreaker who should only play larger than life villainous roles.

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5/10

Good Ingredients Left Me Hungry

daoldiges2 June 2022

With screen talent like Streep, MacLaine, Hackman, Quaid, and Mike Nichols directing, this should have been so much better. Unfortunately, despite some very solid elements the final result is disappointing. There's just not enough bite to this story, all the edges seem to be rounded off and polished smooth, leaving the viewer with nothing to really bite into. Streep, MacLaine, Hackman, and Quaid are all solid and fun, but that's all there is to Postcards from the Edge.

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Mike who?

costa2054 September 2004

Postcards From The Edge is one of my all-time favorites. It's a truly addictive movie that's always funny and touching no matter how many times I see it. Some of the criticism I've read have always seemed just a tad off base, particularly the ones that say that Streep never seems to get a handle on her character--she just acts kind of comically frazzled. Well I think that's the point, isn't it? Streep as Fisher doesn't know what she wants or who she is, and while trying to discover these things, she must battle her drug dependence, rebuild her career against all odds and hope, in addition to trying to reconcile her relationship with her outlandishly domineering mother, who just happens to be a legendary star with issues of her own. In this scenario, "frazzled" would seem to be the way to go.

In any case, those who have commented positively on the movie have mostly mentioned the great performances (as well as Carrie Fisher's wonderful screenplay), and rightly so since this is one the most smartly acted (and well-written) movies you will ever see. But it seems strange that the outstanding direction of Mike Nichols is rarely mentioned. I remember one Oscar ceremony when a producer whose movie had just won Best Picture, and, indeed, swept all the major awards--except Best Director--said "apparently the Academy thinks that the actors directed themselves." It would seem that many of the viewers of Postcards From The Edge think the same thing. In my opinion, Nichols doesn't get enough credit for the seamless way this movie moves or for the crispness of the comic timing. At every turn, he brings out the best in his actors, most especially in the dynamic scenes involving Streep and McLaine. I also love the way he shows, through shifting background effects, how movie illusions are created, which he further uses to illustrate how we often hide our true motivations. (The great example of this is in the scene on the lot with Streep and Dennis Quaid where he was trying to convince her he has always been sincere in his feelings for her--and maybe they should even marry. Then suddenly the background, a house and white picket fence cardboard front, is moved away by a production crew.)

This is a wonderfully entertaining movie, brilliantly acted and written and, yes, superbly directed.

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6/10

Never seems to know where it is going or what it is supposed to be saying

JamesHitchcock29 May 2009

"Postcards from the Edge" represents one of Hollywood's occasional attempts to turn its cameras on itself by making a film about films and film-making. The central character is Suzanne Vale, a drug-addicted actress who is the daughter of Doris Mann, a leading cinema actress of the 1950s and 1960s. It is based on a novel by Carrie Fisher, an actress who at one time suffered from drug addiction and is the daughter of Debbie Reynolds, a leading cinema actress of the 1950s and 1960s. Despite these similarities, Fisher has denied that her novel was autobiographical. (Some, including Minnelli herself, have also seen parallels with Liza Minnelli and Judy Garland).

The main theme of the film is the relationship between mother and daughter. Suzanne's drug habits have been affecting her career and even after treatment in a rehab centre she is warned that the studio's insurance policy will cover her only if she lives with a "responsible" individual, such as her mother. Suzanne, however, finds it difficult to live with Doris, who is about as irresponsible an individual as they come, and has her own substance dependence problems, in her case with alcohol. Doris is loud, selfish and manipulative, never missing a chance to interfere in Suzanne's life. There is also a sub-plot about Suzanne's relationship with movie producer Jack Faulkner, who professes passionate love for her on their first date, which she believes until she discovers that he is also sleeping with one of her co-stars in her latest picture.

I watched this film largely because it stars Meryl Streep, one of my favourite actresses, and she is the best thing about it, even if I would not rate her performance quite as highly as the one she gave in "Silkwood", her earlier collaboration with Mike Nichols. (I have never seen "Heartburn", another film on which they worked together). Meryl even manages to do something which I would have thought beyond the capabilities of a first-rate actress- to give a convincing impersonation of a second-rate one. It is clear from the scenes where she is shooting her movie that Suzanne Vale is not meant to be an actress in the Meryl Streep class. Streep even gets to sing, and shows us that at one time she had a far better voice than the one she displayed in last year's awful "Mamma Mia!". I wondered what has happened to it over the last couple of decades.

I also liked Shirley MacLaine as Doris, which is strange as I disliked her in "Terms of Endearment", another film in which she played a domineering mother who interferes in her daughter's life. I think that the difference is that her performance as Aurora in "Terms of Endearment" was such an over-the-top caricature that it seemed quite out of place in that lugubrious tearjerker. Her performance in "Postcards from the Edge" is no less a caricature, but then the film is less serious and lighter in spirit than "Terms of Endearment", and Doris is written as the sort of larger-than-life character who is such a drama queen, offstage as well as on, that her whole life almost becomes a deliberate self-caricature. It is the two women who are at the centre of the film, but there are also cameos from three major male stars, Dennis Quaid as Jack, Gene Hackman as a film director and Richard Dreyfuss as Suzanne's doctor, who also seems to be romantically interested in her.

What I didn't like about the film was that it was, at times, too static and that it never finished what it seemed to be starting. It starts off as what seems to be a serious film about drug addiction, but this theme is never really developed. It then turns into a satire on the ways of Hollywood, but this theme is not developed either, and the film then becomes a study of a mother-daughter relationship, without approaching that subject too seriously. It has been described as a comedy, although I am not sure that is the right description if by "comedy" is meant a film primarily intended to make people laugh. (I doubt if many of the lines in "Postcards from the Edge" would have had audiences rolling in the aisles). It is a film notable for two good acting performances, but it never seems to know where it is going or what it is supposed to be saying. 6/10

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7/10

Another great film by Meryl Streep

Idocamstuf4 August 2002

I finally saw this film last night, and I really enjoyed it. It was funny, and I could relate to the characters. Lots of great cameos too from Richard Dreyfuss, Annette Benning, Oliver Platt, and Rob Reiner. The director Mike Nichols(Silkwood, Working Girl) is also great. I would recommend this film to anyone who likes Meryl Streep, or movies with a lot of well-known actors in it.

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6/10

Pulled Punches

brophy-3838322 September 2020

I saw this movie for the first time recently after avoiding it for so long "who wants to watch a movie about Hollywood drug problems" was always my thinking. But it's a good movie. Not great. Mostly because it holds back. I am not familiar with the way Hollywood people live or act in real life. I am a writer by trade and the last thing I would do is write for Hollywood. But I cannot help but think that this semi-breezy comedy pulls it's punches by offering merely the tiniest parts of the pain that Carrie Fisher must have gone through as an addict. Imagine your life as one. I guess if the movie were too real, people wouldn't want to see it, as I felt. But making this a comedy hides the real problem. A serious drug problem exists in Hollywood and it would be great if somebody showed how that is handled and problem solved for these poor wretches. There's still a great movie out there about it...but this is not it. That said, I did like the movie, even the comedy. But sadly, even with all of Carrie's talent, charm and funny one-liners, let us not forget how it ended for her.

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6/10

Drug Dependency Sit-Com

gbheron18 January 1999

I found Postcards from the Edge under the Comedy section of the neighborhood video store. Comedy? What's so funny about drug and alcohol addiction in a dysfunctional mother/daughter relationship? They played it up sit-com style, all one liners, without giving it the depth the subject matter deserves. It was like watching Friends, if they were all co-dependent substance abusers.

The film is directed by Mike Nichols, and the main characters played by MacLaine and Streep; and they have nevertheless created an entertaining movie. I just expected a lot more from those making it. The family gave it a 7, just barely, and then only for MacLaine and Streep.

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9/10

Terrific all around

NetPlay5257 March 2003

A really wonderful, funny and sad film with bravura performances by Streep, MacLaine, Quaid and a hilarioius cameo by Annette Benning ("they give you and endolphin rush!"). One of Streep's best performances and won of the many Oscars she should have won but was passed over for. This film holds up each time I see it.

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7/10

Meryl Streep shows her musical side but Shirley MacLaine steals the show.

Steve-31825 November 1999

Lots of stars in this Hollywood snap shot where Meryl Streep struggles with substance abuse and her controlling mother(Shirley MacLaine). MacLaine turns in a touching performance while Streep is at her quirky best. The music is a high note here with Streep doing both torch song and honky-tonk rouser (at show's end). MacLaine touches a nerve, however, with her rendition of "I'm Still Around" at the proverbial Hollywood party.

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4/10

Postcards Off The Ledge

myronlearn20 September 2020

Sub par film about life in yawn inducing LaLaLand. Even the greats Streep and McLaine can't salvage this mess. Just take all the postcards and throw them off the ledge and call it a day!

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8/10

Joyous Tandem

bkoganbing30 March 2015

Although the natural assumption is that when Carrie Fisher wrote her novel Postcards From The Edge she took her own story and that of her mother Debbie Reynolds. I'm sure a great deal of that story got into Fisher's work, but God only knows as a Hollywood kid she had plenty of other examples and role models to choose from. For myself I saw a bit of Joan and Christina Crawford there as well.

One of Meryl Streep's numerous Oscar nominations is for Postcards From The Edge and she's a working actress and performer freshly out of a drug rehab and she returns to the house of her mother Shirley MacLaine who is a former film queen whose day is passed, but still takes on the airs of a star. Once a star always a star.

These two have generational and personal issues. They can see each other's faults quite clearly, but can't see themselves. That's a bad combination, it leads to a lot of heartache with men and with substances.

MacLaine and Streep play beautifully off each other, it's unfortunate that Streep got the Best Actress nomination and MacLaine received none. These are professionals working in joyous tandem.

A lot of colleagues like Gene Hackman, Richard Dreyfuss and others worked in small parts probably because they wanted to be associated with this project for one reason or another. My favorite was Mary Wickes playing MacLaine's small town hick mother. In just one hospital scene Wickes may have given her best performance since the put upon nurse in The Man Who Came To Dinner. A lot of territory between those two roles.

Besides Streep's nomination Postcards From The Edge received a nomination for Best Song for I'm Checking Out. Streep delivers it in the best Patsy Cline type manner in the final scene. That woman has a lot of country in her.

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7/10

Carrie Keeping it Real

view_and_review23 February 2020

"Postcards from the Edge" is as real as it gets. It is based upon the life of Carrie Fisher, so it can get no realer. Fantastic performances all around. I'm typically not moved by the "traumatic" lives of celebrities unless they died traumatically, but somehow this movie reeled me in. It wasn't all that moving to me, but I did find it entertaining.

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4/10

Could this movie be any more obvious? 4/10

The_Wood8 April 2002

Apparently, Carrie Fisher and Co. decided to let all us common folk in on the big secrets of Hollywood. All major celebrities are drug addicts and everything is just a big gimmick. All kidding aside, Postcards from the Edge might seem ground breaking to someone who lives in Kansas and thinks that movies are made magically. For people aware of how the Hollywood system works, the film just grows tiresome.

Is the film about Carrie Fisher and her mother Debbie Reynolds? Probably. Or perhaps some other doped up actress and her has been of a mother. The film is filled with uncalled for cameos -- and two stiff performances by the two leading ladies. Especially Shirley MacLaine, who seems to think she is cute no matter how annoying she is. Dennis Quaid is quite good however.

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