Nora Ephron. For most college students, the name rings like a faint hourly bell, dull and distant, just frequent enough to take notice. The screenwriter behind “When Harry Met Sally”? The author of Heartburn? Yes, and yes. The feared and revered literary icon, the unabashedly honest feminist, the self-proclaimed “relationship expert”? I had no idea.
The documentary opens with Nora Ephron reading an essay on an important family mantra, one recited by generations of Ephron women. A running ribbon throughout her wildly public life and puzzlingly private death, it’s also the title of this film: “Everything Is Copy.”
Using Nora’s life as “copy” for the script, Director Noah Bernstein take a page from her family book. It’s fitting. He’s her son.
We hear Bernstein’s voice in the narration; we see him on the screen. A journalist by training, he initially admits his discomfort with putting himself in the story.
Maybe he shouldn’t have admitted it so early on, right after the opening credits, because the early interview scenes, him sitting across the couch from Delia Ephron, appear forced and awkward. It’s as if his admitted uneasiness of putting himself in the film is contagious. Every time I heard him ask a question, I squirmed. Every time he appeared on screen, I cringed. When the camera finally cut from the couch to Delia’s face, I sighed in relief.
But maybe that was the point. This film isn’t just about Nora Ephron as the writer, sister, friend and wife, but about a son coming to terms with his mother’s sudden death. Ephron suffered from a blood disorder that she kept secret from him (and most of the world) for many years, before succumbing to leukemia in 2008.
This 90-minute reel unspools like a scrapbook of Nora’s life: her sisters and close friends provide voice-overs for old photographs, modern female icons like Lena Dunham read funny, biting snippets from her early essays, an interview with ex-husband, THE Carl Bernstein, reveals his take on their marriage as tabloid shots of their tumultuous divorce flicker on screen.
The film embeds short television clips from Nora’s interviews throughout the years. Though the older segments are sometimes grainy, the zing of her witty one-liners and abrasive, yet hilarious views remain fresh.
Like many 20-something women, I saw and loved “When Harry Met Sally.” Unlike most romantic comedies, the heroine is ambitious and confident, flawed but effortlessly funny.
After watching “Everything Is Copy,” it all makes sense. She wrote incredible screenplays because she was an incredible woman. This tribute to Nora Ephron is not just for writers and it’s not just for feminists. As a young millennial trying to make my own mark, I take strong note of Ephron’s character and drive.