While she claims in the book not to have had a face-lift for fear of winding up with a face that "looks suspiciously like a drum pad," her cheeks are lineless. In fact, and not just because of her colored hair, she simply doesn't look her age. She was dressed in a high-collared button-down shirt, but from what I could tell, her neck doesn't look half bad. Despite the protestations in her book, Ephron looks great at 65. We met recently at a French restaurant on the Upper East Side of Manhattan. What can they be thinking? Don't they have necks?" While she understands that aging beats the alternative, Nora Ephron does not think it's great to be old. I can't stand people who say things like this. "It's great to be wise and sage and mellow it's great to be at the point where you understand just what matters in life. "Every so often I read a book about age, and whoever's writing it says it's great to be old," Ephron writes. Nowhere is this Ephron more evident than in her new book, "I Feel Bad About My Neck," a collection of wry essays about time's dark march - across the skin on her neck, across New York City's rent-control guidelines and across her circle of friends. In fact, in much of her work, she is a lot like her beloved Manhattan: protean, resilient, sharp, eager to crack a grim smile in bad times, susceptible to big-strings romanticism, but often willing to resist - yes, resist - sentimentality in the face of change.
Yet while she has surely trafficked in some synthetic twinkle, Ephron is no sap.
In 1983 she wrote the novel "Heartburn" and then adapted it for film soon she was penning Oscar-nominated scripts for "Silkwood" and "When Harry Met Sally," and by the time the '90s rolled in, she had largely abandoned journalism for Hollywood, directing and producing movies like "Sleepless in Seattle," "You've Got Mail" and "Bewitched." It was in this last stage of her career that Ephron became most famous these starry, heavily soundtracked films are also what got her labeled schmaltzy. She began her writing career in the '60s as a reporter for the New York Post and covered the media, fashion and women's issues for Esquire and New York magazines in the '70s. For 40 years, Nora Ephron has been a wicked social critic and storyteller, spotting and eviscerating trends, spinning somber tales into comic gold, and revivifying a moribund cinematic genre - the romantic comedy - for a country still trying to recover from the sexual revolution.
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