1960

1969

L O R E A L 2007

They Shoot Horses, Don't They? 1969

Jane mid 1990's

Walk On The Wild Side 1962

The beach

Jane nude 1966

1972

The Chase 1966

On the beach...

Jane Fonda "They Shoot Horses, Don't They?" (1969)

TALL STORY

The film debut of a soon-to-be-major movie star is not always an event of any significance when it first occurs. Nor is it often a movie with any artistic merit that can stand the test of time and become an important topic for analysis among film scholars. Certainly, Jane Fonda's movie debut, Tall Story, will never make the AFI's top 100 films list and it wasn't a commercial or critical success upon its release in 1960. But the film is important in the career arc of Ms. Fonda. A slight but enjoyable romantic comedy, Tall Story plays much better today than when it first premiered. At the time, critics were expecting something much more impressive from Joshua Logan, the director of the Tony award-winning stage play Mister Roberts [1955], the film version of South Pacific [1958], and a two-time Oscar® nominee for Best Director for Picnic [1955] and Sayonara [1957].Logan had never intended for Tall Story to be positioned as a major film production. Instead it was originally conceived as a modestly budgeted showcase for Warren Beatty and Jane Fonda, neither of whom had yet appeared in films. Logan had first wanted to feature them in Parrish, a project he eventually abandoned due to script difficulties and was later made in 1961 by director Delmer Daves with Troy Donahue and Connie Stevens in the leads. Logan then optioned the popular Broadway play Tall Story by the distinguished writing team of Howard Lindsay and Russel Crouse; it was a collegiate comedy about a university basketball star who falls in love with a cheerleader but faces a moral dilemma when he is bribed to let a visiting team from Russia win the decisive game.Warner Bros., who was financing Tall Story (the working title was The Way the Ball Bounces), would not approve Beatty as the film's male lead despite his stage experience because he was an unknown actor. So Logan was forced to go with his second choice, Anthony Perkins, who had already established himself as a talented leading man in such high profile films as Desire Under the Elms [1958] opposite Sophia Loren, On the Beach [1959], and Friendly Persuasion [1956] which earned him a Best Supporting Actor Oscar® nomination.Jane Fonda, who saw Tall Story on Broadway and hated it, was pleasantly surprised when she received the script and saw that her character June Ryder had been expanded into a larger role and was now, in fact, the major focus of the film. Logan, who was a longtime friend of Henry Fonda (he roomed with him during his bachelor years and directed him on stage in Mr. Roberts), always sensed that Jane had the talent to be a major star and wanted to prove his hunch by guiding her through her first feature. The experience turned out to be, in Jane's words, "a Kafkaesque nightmare" which brought out all of her insecurities as an actress and also made her question her own identity, physical appearance and career on a more personal level. Although Jane had asked Logan and studio publicists to play down the fact that her father was Henry Fonda, that became the focus of the advance publicity along with an unwanted emphasis on her body. James Bacon of the Associated Press wrote, "Jane is one of those girls who exude sex appeal on screen - and off- without trying. That asset is helped immeasurably by a curvaceous, high-breasted figure. She's 5 feet 7 1/2 inches tall, weighs 112 pounds...She packs all that with a 123 IQ." Fonda was also unprepared for playing the part of the young Hollywood ingénue when it came to studio publicists. During a pre-production photo shoot for Tall Story, Fonda and Anthony Perkins were asked to nuzzle and caress each other by a studio photographer. "Jane turned pale," recalled Perkins. "It was her first encounter with one of the absurdities of the business, and it was as if she said to herself, 'My God, is this what being an actress means'. You could see her take a deep breath and say to herself, 'Well, I guess it is, so okay, let's get it over with.' (from Citizen Jane: The Turbulent Life of Jane Fonda by Christopher Andersen).Fonda's trial by fire continued with her first day on the Warner Bros. lot. She recalled, "It was a bunch of makeup artists looking me over and it wasn't what they wanted. When they got finished with me, I didn't really know who I was. My eyebrows were like eagle's wings, and my mouth was all over my face. My hair was not the right color, and it had to be changed. Then Jack Warner, the head of the studio, sent a message to the set that I had to wear falsies because you couldn't become a movie star unless you were full-breasted." Fonda later wrote in her autobiography, My Life So Far, that "Logan suggested that after the filming I might consider having my jaw broken and reset and my back teeth pulled to create a more chiseled look, the sunken cheekbones that were the hallmarks of Suzy Parker, the supermodel of the time. "Of course," said Josh, touching my chin and turning me to profile, "you'll never be a dramatic actress with that nose, too cute for drama." From that moment on...my bulimia soared out of control and I began sleepwalking again as I had as a child....I would dream I was in bed, waiting for a love scene to be shot, and gradually I would realize that I'd made a terrible mistake. I was in the wrong bed, in the wrong room, and everyone was waiting for me to start the scene somewhere else, though I didn't know where...On one occasion I woke up on the sidewalk in front of my apartment building: cold, naked, searching in vain for where (and who) I was supposed to be."The filming of Tall Story wasn't much easier for Tony Perkins despite his experience of almost seven years in motion pictures. Popular among teenage girls for his boyish, all-American good looks and shy manner, Perkins lived in constant fear that his private gay life would be exposed by some tabloid reporter yet he played the Hollywood game well, even suggesting to Joshua Logan that he work privately with Jane Fonda on their love scenes in the film. "They worked very hard, devotedly in fact, on their intimate scenes," Logan wrote in his 1978 memoir. "When they showed them to me they were strangely slow and full of pregnant pauses, but apart from that quite attractive, so I filmed them as rehearsed. Unfortunately, when cut into the picture they were endless and, I think, hurt the picture..." Perkins said he felt that "too many love scenes lack warmth and reality" but that he "didn't have to do any acting when I kissed Jane for the first time...I couldn't convincingly kiss a girl, if I didn't like her."(from Split Image: The Life of Anthony Perkins by Charles Winecoff).Perkins's other challenge was to be convincing as a star athlete. During filming he told a reporter, "I've been busy working out at the Warner Bros. gym, discovering what basketball is all about. I spend about an hour and a half a day dribbling, passing, shooting baskets, and going after rebounds. An hour and a half is about all I can take. It's exhausting." His hard work paid off and even his co-stars recognized his dedication. Ray Walston, cast as Professor Leo Sullivan in Tall Story, stated that Perkins "was on that court like he was born there. He always seemed to have an urgency in his movement. He had great ideas and he would express them to Josh in a very eager way, like a young boy wanting to please." Tall Story, however, did little to advance Perkins' career and seemed like a step backwards for him since he had already graduated from playing collegiate types and was close to thirty years old. His wholesome screen image would change completely with his next film made the same year - Psycho. When Tall Story went into general release, the critics were unusually hard on the picture. Time magazine wrote "Nothing could possibly save the picture, not even the painfully personable Perkins doing his famous awkward act, not even a second-generation Fonda with a smile like her father's and legs like a chorus girl." The Films in Review writer said, "The film wouldn't be reviewed in these pages but for the fact that Henry Fonda's daughter Jane makes her screen debut in it. She is a good-looking lass and she can act." Anyone viewing the film today however will probably enjoy it as a pleasant diversion in the same vein as the formulaic but highly popular Doris Day romantic comedies from the same period.Fun Facts: Look for Tom Laughlin (writer/director/producer of Billy Jack [1971]) and Gary Lockwood (2001: A Space Odyssey [1968]) in small roles. The theme song, composed by Andre & Dory Previn and Shelly Manne is sung by Bobby Darin. Producer: Joshua LoganDirector: Joshua Logan.

Spirits Of The Dead

Jane Fonda & Roger Vadim

She’s come to see Vadim’s "Barbarella" with a sense of humor, but her off-screen, private life with him is another matter. "One night, Vadim brought another woman into my bed with me and I went along with it," says Fonda. "It really hurt me. It hurt me. It reinforced me feeling I wasn’t good enough. One of the reasons that I went along with it was because I felt that if I said no, that he would leave, and I couldn’t imagine myself without him." Fonda says that sometimes she solicited the women herself: "If that's what he wanted, I'd give it to him in spades.

JANE FONDA

J A N E

BARBARELLA

Jane Fonda & Angela Davis 1970

Jane Fonda & John Kerry

KLUTE

They Shoot Horses, Don't They? 1969

Sydney Pollack shot some of the frightening derby sequences himself, donning a pair of roller skates to get right in the action with the frantically heel/toe-ing actors.
This film took the record for the most Academy Award nominations without a nomination for Best Picture: 9.

For several powerful reasons THEY SHOOT HORSES, DON'T THEY? qualifies not only as the best film of 1969 but as one of the great and enduring treasures of its era. This is movie-making at its most intimate and mature, but with rich sociological and historical overtones. It is an emotional powerhouse of a film, offering Jane Fonda her first real chance to prove what a gifted dramatic actress she is. That she would soon be seen as the best actress in films is well-known, but if you want to see a great actress in a classic performance, this is one of the best opportunities you'll ever have. Powerhouse of a film, 5 November 2005Author: JSlack-2 from USA

Jane Fonda 2007

Jane Fonda

Jane Fonda Faces

Jane Fonda (born December 21, 1937) is a two-time Academy Award-winning American actress, writer, political activist, former fashion model, and fitness guru.

Jane Fonda (1972)

In 1972 Jane Fonda, Tom Hayden and others traveled to North Vietnam to give their support to the North Vietnamese's Government. When she returned to the United States, she advised the news media that all of the American Prisoners of War were being well treated and were not being tortured.

Jane Fonda & Ted Turner

Fonda's third husband (1991-2001) was cable-television tycoon and CNN founder Ted Turner. In My Life So Far, Fonda states that she "left the father's house" when she divorced Turner. In addition to having become a Christian, Fonda's desire to disassociate herself from patriarchy may have contributed to the divorce.

BARBARELLA

Jane Fonda

Jane Fonda:
"Have I been tucked and nipped at all? A little bit, yes."
"When you're heading towards 70, you can't believe someone can love you. With all this [indicating minimal facial wrinkles]. And then of course they do. If they're smart."
Exchanges between interviewer and Fonda:
Ever want to be a politician?
"Me? I couldn't be elected dog catcher."
You say you sent your book to your ex-husbands.
"I would have sent it to all three but one is dead."

Jane Fonda My Life So Far (2005)

She dedicates the book to her mom, socialite Frances Seymour, who committed suicide when Fonda was only 12. It reads: "Here's to you, Frances Ford Seymour, my mother - you did the best you could. You gave me life, you gave me wounds; you also gave me part of what I needed to grow stronger at the broken place."

"I knew that to heal, I had to come to terms with her and try to understand her," Fonda says. "It's hard, because I didn't really know her that well and I was so young, and most of the people who knew her died, so I jumped in by dedicating the book to her, thinking how am I going to do this. "And then like miracles, people began to come into my life that had known her. And then I got her medical records. Lawyers helped me get her medical records from the institution where she had been. And there was her own personal history that she had written herself. And in it, I discovered that she had been sexually abused as a girl. And the minute I knew that, I knew everything. It all became clear and I was able to forgive her and to understand her and, hence, myself. It was a real blessing." As she was about to turn 60, Fonda asked her daughter to help her put together a video of her life. And Vanessa laughed and said, "Why don't you just get a chameleon and let it crawl across the screen," of which Fonda writes "I couldn't help but feel that maybe it was true- maybe I simply become whatever the man I am wants me to be: 'sex kitten,' 'controversial activist,' 'ladylike wife on the arm of controversial mogul."' - Referring to Roger Vadim, Tom Hayden and Ted Turner. "That's the rap on me," Fonda tells Storm. "I've known that all along. One of the things I discovered in researching my life to prepare myself for my third act when I turned 60 was that it was true, but not entirely true, that I was always on a path of self-discovery -- of different aspects of self-discovery when I would meet a remarkable man who would bring me further down that path, and so I was at least co-captain of my own ship." The relationship with her father was a bit of an enigma. She says Henry Fonda was emotionally distant. And through this relationship she developed what she calls a "disease to please." "I learned that expression from Oprah," Fonda says. "Girls and boys, too, but it's mostly a disease of girls. When you're made to feel that you're not good enough and that you have to be perfect in order to be loved, you develop the disease to please. You know, you'll do anything to please. It's usually to please a man. I didn't have the problem when I was with my women friends. And it affected me all my life and my marriages and my dad was a wonderful man. Just like Norman in 'On Golden Pond.'" In 1981, she was able to produce and costar with her father in that film, which served two purposes for her. The first was to bring the two of them closer, as happened with the father and daughter in the film. Secondly, Fonda hoped that he would finally win an Oscar, which had never won. Asked what was the experience of filming that movie together like, Fonda says it was different for her than for him. She explains, "In the movie, Chelsea, the character that I played, says to her mother, Katharine Hepburn, 'You know, in real life I'm a can-do person. I've got my own business. And yet I come here and when I'm with him, I'm just a little fat girl.' That said it all. You know? When I was with my dad, I was just a little fat girl, even though I produced the movie; I won two Academy Awards; I was a mother, etcetera. And to be able to say the lines that so closely paralleled what I wanted to say to him in life was an amazing experience that touched me and transformed me on a deep level. "I'm not sure that it did him. He didn't talk and communicate, so I don't know the affect it had on him. But for him to have won the Academy Award five months before he died was -- I doesn't get any better for a child. Does it?" Fonda says it was the happiest day of her life. "Oh, God," she says. "And of course, afterwards with Bridget Fonda and my family, and my husband and children, we brought it to him because he was too sick to go. And I gave it to him and I said, 'How do you feel, dad?' And he said, 'I'm so happy for Kate.'" Hepburn had won an Oscar, too. Fonda includes a chapter about her. At first, Hepburn gave Fonda a hard time and told her she hated her, but eventually she helped Fonda when she most needed it. Fonda says, "It's like God saying you were a bad person. It was hard. She wanted to put me in my place, and if she felt I wasn't, she would do it. She stirred up a lot of stuff. She made me feel guilty for having children. But also during the difficult times during the filming of the movie, she was always there for me." A large part of the book, over 150 pages, consists of Fonda detailing and explaining her stand against the Vietnam war, including what she has called the "two minute lapse of sanity," when she was photographed sitting at a North Vietnam antiaircraft gun site. That image of "Hanoi Jane" is still strong and emotional for many people. "And for me as well. It was for me, too," Fonda says. "Because I had spent two years helping soldiers, working with active duty -- all branches of the military. And to have had a lapse of judgment that made me look like I was against the soldiers was a terrible thing. Terrible thing. And I'm so sorry." Wednesday night on CNN's "Larry King," she received a lot of e-mails. One of them was from a veteran who said, "I would have given my life to protect her right to have her say. But I will never forgive her." Asked what it is like for her knowing that there are people who will never forgive her for that, Fonda says, "It hurts. It hurts a lot. "I know that it's misdirected hostility. I'm not the one that sent the men there. It wasn't my war. I came in to anti-war activism seven years into the war. I went to Vietnam because we were being lied to by our government and men were dying because of it. I didn't cause that to happen. I tried to end it. But I understand where the anger comes from." And she adds that the image at the North Vietnam antiaircraft gun site did not reflect what was in her heart. "It really hurts me and I'm sorry that it hurt the men," Fonda says. ©MMV, CBS Broadcasting Inc. All Rights Reserved.

Jane Fonda "The Chase" 1966

The casting director rejected Faye Dunaway, telling her she wasn't pretty enough for movies and should stick to theater.
Producer 'Sam Spiegel (I) had acquired the property that became "The Chase" in the 1950s and wanted Marlon Brando originally to play the role of Jason 'Jake' Rogers and Marilyn Monroe to play his lover, Anna Reeves. By the time production began in 1965, Brando was too old to play the role of the son, and took the part of Sheriff Calder instead. Brando was paid $750,000 and his production company Pennebaker was paid a fee of $130,000. (Brando's sister Jocelyn Brando also was cast in the small role of Mrs. Briggs).

Jane Fonda "Period Of Adjustment" 1962

Jane Fonda & Donald Sutherland FTA

The year 1971 included one dramatic national protest after another, from the Winter Soldier Investigation of alleged U.S. war crimes in Indochina to the Mayday demonstrations in Washington DC.
In Fayetteville, GI and Quaker House activists got ready to join these national actions, but also were hard at work laying plans for local actions as well.
The Mayday demonstrations evoked some of the most militant and disruptive nonviolent actions yet seen in the antiwar movement. Thousands of protesters blocked streets in Washington DC during rush hour. Over ten thousand were arrested. A similarly large action was held simultaneously in Boston, where authorities declined to make arrests.
In Fayetteville that spring, actor Donald Sutherland joined Jane Fonda and other stars in a wildly successful, nationally-noted anti-war show at the Haymarket Square GI Coffehouse, and Armed Forces Day was again marked by large public peace actions. The movement, it seemed, was on a roll.

Jane 1967

Jane Fonda 2007

They Shoot Horses, Don't They?

Best Actress (nom)
They Shoot Horses, Don't They?
1969
Academy
Best Actress - Drama (nom)
They Shoot Horses, Don't They?
1969
Golden Globe
Best Actress (win)
They Shoot Horses, Don't They?
1969
New York Film Critics Circle

Jane Fonda (1978)

Best Actress (win)
Coming Home
1978
Academy
Best Actress (win)
Julia
1978
British Academy Awards
Best Actress - Drama (win)
Coming Home
1978
Golden Globe
Henrietta Award (World Film Favorite) (win)

1978
Golden Globe
Best Actress (win)
Coming Home
1978
L.A. Film Critics Association
Best Actress (win)
Comes a Horseman
1978
L.A. Film Critics Association
Best Actress (win)
California Suite
1978
L.A. Film Critics Association

Roger Vadim directing Jane as Barbarella (1967)

Peter, Henry & Jane (1961)

There Was A Little Girl

This is a rare February 29th, 1960 playbill from the Original Broadway production of the DANIEL TARADASH play "" which played the Cort Theatre in New York City. (The production opened February 29th, 1960 and closed after only 16 performances.) ..... The play starred JANE FONDA (in her Broadway debut) and DEAN JONES (both are pictured on the front cover) as well as WHITFIELD CONNOR and RUTH MATTESON and featured JOEY HEATHERTON, PETER HELM, SEAN GARRISON, MICHAEL VANDEVER, TOM GILLERAN, VAL RUFFINO, GARY LOCKWOOD, MARK SLADE, PHILLIP PRUNEAU, SHARON FORSMOE, BARBARA DAVIS and WILLIAM ADLER..... CREDITS: Book by DANIEL TARADASH from a novel by CHRISTOPHER DAVIS; Sets designed by JO MIELZINER; Costumes designed by PATTON CAMPBELL; Original Music composed by LEHMAN ENGEL; Directed by JOSHUA LOGAN; Produced by ROBERT FRYER and LAWRENCE CARR .

Jane Fonda & John Philip Law

Jane Fonda

Best Actress - Musical or Comedy (nom)
Any Wednesday
1966
Golden Globe

Jane Fonda Nude Scenes

‘Barbarella’ is a film Jane Fonda may feel is merely a light-hearted romp in contrast to the serious films she is proud of – but it’s one she shouldn’t be ashamed of.

As strange as it may seem, at one time Jane felt uncomfortable about her body – at least when it came to exposing it, which was inevitable when hubby Roger Vadim directed her.

She had a lean, coltish figure, didn’t wear a brassiere and her breasts weren’t the pneumatic type favoured in some quarters. When she began filming ‘Any Wednesday’, studio head Jack Warner said he didn’t like the size of her breasts and ordered her to wear a bra.

She had observed, “When I first became an actress, I was told that I didn’t look right. That I wasn’t right. I had to dye my hair blonde. I had to wear falsies, my lips were repainted. That all helps to make your mind alienate you from what you are, not only inside, but outside.”

Jane Fonda filming "Klute"

French Fonda

In 1963, Fonda returned to France to work on a film with director René Clément, "Les Félins" (1964) meeting and felling in love with Vadim, (fresh from relationships with Catherine Deneuve and Brigitte Bardot), a Parisian style leftist intellectual horrified by anything that smacked of the bourgeois who encouraged Fonda--whom he married in 1965--to rid herself of supposedly outmoded qualities like sexual jealousy by introducing her to ploygamous encounters and remaking her image into the type of "sex kitten" that populated his risque films.

Jane Fonda & Janis Joplin

A Letter To Jane (1972 France 51mins)

In Letter to Jane, news photograph first appears on the screen Jane Fonda towering above some Vietnamese, and on the sound track Jean-Luc Godard and Jean-Pierre Gorin discuss the implications of the photograph. Their talk is didactic, and reveals what Laura Mulvey referred to later as Godard's “always interesting” misogyny (quoted in Williams 1992: 84). Certainly the intensity of a film consisting of a still picture and two ideologues berating the subject of the picture has something of the feeling of a show trial about it. The Marxist/Maoist Dziga Vertov movement and Jane Fonda's own short career as a bourgeois idealist collide in what in retrospect is a film by two rather privileged intellectuals who both seem to lack a sense of history's ironies. Thus, the entire premise of Letter to Jane is a deconstruction of a notorious news photograph of Jane (Hanoi Jane was her nickname in America at the time) visiting Hanoi and surrounded by Vietnamese communists. Letter to Jane is, in one sense, a very long lecture (or harangue) by two filmmakers that is almost the purest example of agitprop in cinematic history as well as possibly the most graceless. But it still makes fascinating viewing and sums up a period in the political life of cinema that can be linked to the more formalist stylistic strictures of Lars Von Trier's Dogma Group.

Jane Fonda Circle of Love Brroadway Billoard 1964

Thanks to Vadim’s productions, her naked image was consumed like no other American actress’s – in one case eight storeys high, on a billboard over a Broadway theatre promoting 1964’s Circle of Love.

Jane Fonda born:1937

Hollywood legend has it that Bette Davis was forced to talk to a blank wall rather than her co-star Henry Fonda during filming of her close-ups in Jezebel; the reason was that he had repaired to New York to attend the birth of his daughter Jane.
A child of privilege, the young Jane Fonda exhibited the imperious, headstrong attitude and ruthlessness that would distinguish both her film work and her private life. The teenage Fonda wasn't keen on acting until she worked with her father in a 1954 Omaha Community Theatre production of The Country Girl. Slightly interested in pursuing a stage career at this point, Fonda nonetheless studied art both at Vassar and in Europe, returning to the states to work as a fashion model. Studying acting in earnest at Lee Strasberg's Actors' Studio, Fonda ultimately starred on Broadway in Tall Story, then made her film debut by re-creating this stage appearance in 1960.
A talented but not really distinctive player at this time, Fonda astonished everyone (none as much as her father) by becoming one of the first major American actresses to appear nude in a foreign film. This was La Ronde (1964), directed by her lover (and later her first husband) Roger Vadim. The event was heralded by a giant promotional poster in New York's theater district, with Fonda's naked backside in full view for all Manhattan to see. Vadim decided to mold Fonda into a "sex goddess" in a series of lush but forgettable films; the best Fonda/Vadim collaboration was Barbarella (1968), which scored as much on the actress' sharp comic timing (already evidenced in such American pictures as Cat Ballou, 1968) as it did on her kinky costuming. In the late '60s, Fonda underwent another career metamorphosis when she became involved in the anti-Vietnam War movement. Her notorious visit to North Vietnam at the height of the conflict earned her the sobriquet "Hanoi Jane," as well as the enmity of virtually every ex-GI who fought in Southeast Asia.
Even so, Fonda's film stardom ascended in the early '70s; in 1971, she won the first of two Oscars for her portrayal of a high-priced prostitute in Klute (her other was for Coming Home [1978]), and Fonda's career flourished despite a sub-rosa Hollywood campaign to discredit the actress and spread idiotic rumors about her subversive behavior (one widely circulated fabrication had Fonda destroying the only existing negative of Stagecoach because she despised John Wayne).
In the 1980s, the actress realized several personal and career milestones: she worked with her father on film for the only time in On Golden Pond (1981); she assisted former peace activist Tom Hayden, whom she had married in the early '70s, in his successful bid for the California State Assembly; and she launched the first of several best-selling exercise videos. She also won an Emmy for her performance in the TV movie The Dollmaker (1984). After her marriage to Hayden ended in the early '80s, Fonda married media mogul Ted Turner in 1991 (the couple would divorce in 2000), and began curtailing her film appearances, all but retiring from the screen after her lead role opposite Robert De Niro in 1990s Stanley & Iris. Though occasionally glimpsed performing the "tomahawk chop" at Atlanta Braves games during her marriage to Turner, Fonda was no less the social activist in the 1990s than she was two decades earlier: among her projects was the production of several "revisionist" dramatic specials and documentaries about the history of Native Americans, duly telecast on Turner's various worldwide cable services.
Just when it seemed audiences might have seen the last of Fonda on the bigscreen, she returned in 2005 with the romantic-comedy Monster In-Law. Starring Fonda as a meddling mother bent on disrupting the planned nuptials of her son (Michael Vartan) and his fiance (Jennifer Lopez), the film went on to be a modest box-office success despite mixed reviews from critics. 2005 also saw the release of Fonda's bestselling autobiography My Life So Far, after which time she took some time off. She got back in the saddle a few years later iwth 2007's Georgia Rule, playing the hard-driving grandmother of a rebellious teenager played by Lindsay Lohan. ~ Hal Erickson, All Movie Guide.