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Colin Laidley

is an editor at Public Seminar and a graduate student pursuing an M.A. in Creative Publishing and Critical Journalism at The New School.

Erin Carlson's I'll Have What She's Having: How Nora Ephron's Three Iconic Films Saved the Romantic Comedy

The endless parade of anecdotes is intermittently entertaining and interesting. Ephron’s fantasies were painstakingly crafted; “Nora had to completely OK every single look, down to the cut of the shoes,” Tom Hanks recalls. Stories of deciding on certain minor details like Kathleen Kelley’s tousled hair or Harry’s chic bohemian loft provide a window into both Ephron’s vision—troublingly elitist—and her character as a filmmaker—collaborative, but self-assured and obdurate. Unfortunately, they do not get the commentary they deserve, and cumulatively these stories amount to neither a portrait of Ephron nor an appraisal of her legacy.


The Brooklyn Rail

JUL-AUG 2020

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