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On Lily Tomlin

 Lily Tomlin made waves with "Nashville"; she earned an Oscar nomination. This was an insane year at the Oscars, with Altman competing against Spielberg ("Jaws") and Forman ('One Flew Over the Cuckoo's Nest") and Lumet ("Dog Day Afternoon") and Kubrick ("Barry Lyndon"). 


Tomlin lost, in her category, but it seems she wasn't permanently scarred. An interesting quirk in her career is that, almost every time she takes on a role, she panics and tries to back out. I think this suggests seriousness; Tomlin understands she cannot "phone it in."

Recently, Tomlin called a friend, Paul Weitz, with whom she had worked on "Admission." Apparently, Tomlin said, "Paul, you need to write something for Jane Fonda and me." And Tomlin--being Tomlin--then *got* what she wanted. The result is the film "Moving On."

I can't say this is a total success. It's the story of two friends--connected by an affiliation with one woman. The woman is now dead. The two living friends, Tomlin and Fonda, share laughs over memories--but, also, they share bitterness. The dead friend's husband is/was secretly a rapist. Now, it's time to seek revenge. But how do you remain friends with someone for thirty or forty years without ever saying, "By the way, your husband raped me when you weren't home"--? I'm not saying this is inconceivable, but it does seem to "ask" for dramatization, explanation. And the film "Moving On" just doesn't do all the creative work it needs to do; key relationships seem inexplicable, because there is a crater where a few thoughtful additional scenes should be.

That's OK, though, because the movie gives us Tomlin and Fonda. I especially like Tomlin in her scenes with a little boy who enjoys an occasional drag performance; Tomlin's tenderness with this kid is memorable. Fonda is heartbreaking and also very funny, particularly when she tries to buy a gun. 

I'd recommend this one.
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