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Julia Child presents
the Chicken Sisters

Miss Broiler, Miss Fryer,

Miss Roaster, Miss Caponette,

Miss Stewer and old Madam Hen.

But we're spotlighting
Miss Roaster of the Year.

Manage to get
in between the vertebrae.

Give it a big tie.
Good and tight.

Slice right down.

It should have
a butter massage.

It gets right into that skin,

and it gives it
a lovely flavor,

and it helps it brown nicely.

French food is just wonderful.

I hadn't been turned on
by anything

until I really got
into French food.

You can poach it
or you can roast it

the old-fashioned way
in the oven,

or you can
roast it on the spit.

I find that if people
aren't interested in food,

I'm not very much
interested in them.

They seem to lack something
in the way of personality.

I'm gonna turn
this chicken around

so that whenever you think
of roast chicken,

you think of it this way.

I just love that food.

I could eat nothing but that
the rest of my life.

She's one of
the most distinctive

personalities that television
has presented, ever.

Julia Child.

PRUD'HOMME:
Julia was more than a cook.

She was a cultural force.

She changed America.

I think Julia introduced us

to a world of food.

She made it look like
it was fun.

Today, you have
rock star chefs.

Julia is the first.

She's Madonna.

Like, she's the first
that does all of that.

Julia was a pop icon.

I'm Julia Child.

You could say "Julia,"

and everybody knew
it was Julia Child.

I didn't start

on television
till I was in my 50s.

Just by chance,
I got onto television.

I seemed to be the right woman
at the right time.

...behind me in this
unassuming concrete building,

filled with the tools

of a remarkable industry
called television.

I was a producer-director
of WGBH,

the public television station
in the Boston viewing area.

I was there in the office,
and the phone rang.

And it was a woman

with this kind of
a gasping, strange,

very, very distinctive voice.

And she said,

"I would like to request

a hot plate be provided

for Mr. Duhamel's program
that I will appear on tonight."

It was the book review program
calledI've Been Reading.

She was going to talk
about her book,

Mastering the Art
of French Cooking.

I said, "I'll pass
that along, madam,

but I just have to say
that it's highly unusual."

MALE ANNOUNCER
This series is presented by
WGBH-TV Boston.

Few people in those days

watched educational television.

How can we find
the size of the Earth?

We had some distinguished

faculty members who would
explain high-energy physics

and high-energy literature.

The Wrath of Achilles

an introduction to
The Iliad.

All readers of The Iliad
have felt the deep contrast

between the bleak camp life
of the Greeks

and the warm
domestic atmosphere

of the scenes inside Troy.

I mean, there was
some pretty heavy going.

So I pointed out to her

that we don't really do much
in terms of demonstrations.

She said, "Well, I will
still need that hot plate."

She made a proper omelet

in a proper omelet pan
that night.

And the host was blown away
by its lightness and its taste.

You have to understand,
in those days,

no one had an omelet pan
in metro Boston.

If you were to say,
"Go out and get some leeks,"

we wouldn't know what--
Where to start.

Or a garlic press.

MALE ANNOUNCER
Smart mother.

Plenty of time when you keep
Swanson TV Brand Dinners

in the freezer.

No more than 25 minutes,

serve a meal that rivals
real home cooking.

- Taste pretty good?
- Delicious.

American food was focused on

convenience foods--
Frozen items, canned items.

- -that were all being advertised

and touted
as great ways to save time.

Everywhere,

there was packaged,
processed, frozen,

under-plastic, in-boxes food.

It was all very...
not recognizable.

FEMALE ANNOUNCER
Just pop them
into the frying pan

with a little water

to produce mouthwatering
fried potatoes in minutes.

People discovered
"canned soup as sauce."

Pour it over the chicken,
fish, whatever,

and that was your sauce.

Americans were eating

Jell-O salads,

and it might have
chopped-up carrots

with marshmallows in them.

It was pretty awful.

People used a lot of Spam.

It would not be unusual
to go to a dinner party

where there was grilled Spam

with slices of pineapple
on top of it.

We ate without much style,

flair and imagination.

So when Julia did her omelet

on that first example
of her cooking on television,

the phone began to ring,

and the station
actually got a pulse.

"What a sketch.
What a take on French cooking.

Boy, I think I'm gonna buy
her book when it comes out."

It was all positive,

and it gave
the station management

the idea that maybe
a TV series could arise

from this appearance.

I was summoned to the office,
and they said,

"We'd like to try
two or three programs

featuring Julia Child cooking.

We'll make three pilots."

Hello. I'm Julia Child.

Welcome to The French Chef,

and the first show on
our series on French cooking.

We're gonna make
boeuf bourguignon--

beef stew in red wine.

And it's a wonderful show
to begin our series on

because it shows you

so many useful things
about French cooking.

From all the stews I've made...

When I did The French Chef,

I'm interested
in people who make

beautiful food
that tastes good.

And I'm not gonna crowd
the pan either.

That's another
extremely important thing,

because if the pan
gets crowded,

then the meat steams.

My point is
to make cooking easy for people

so that they can enjoy it
and do it.

It should be, and is,
I think, everybody's pleasure.

I think you should have
no fear of cooking.

That's terribly important,

that you must be
a fearless cook.

And the more you learn
how to cook,

the easier it is
and the more fun it is.

That gives me a sense of,
"I belong. I'm here."

Cooking is about

bringing people to the table.

And once you surround yourself
with people you love,

that's how you connect with
each other: by sharing food.

Food, for me,

is really a window
into our own identity.

It looks back at the history
that was here before us.

It really tells us who we are.

If you want to taste who I am,
taste this.

I was born
in Pasadena, California,

August 15, 1912.

It was a lovely,
lovely place to grow up.

Pasadena was like paradise.

My grandparents had this
big old rambling house with

an entire walled garden

that had avocados, lemon trees.

It was just beautiful.

She was the oldest
of three children.

There was Julia and then John

and then my mother, Dorothy.

We used to hang onto
bicycles, and we rode all over,

and we just had a good time
horsing around.

She was 6'3", John 6'4".

My mother was 6'5".

And Grandma Caro's reaction

to having these
three enormous children was,

"Good heavens!

I've produced 18 feet
of children." Heh, heh.

We had very sensible,
New England-type food

'cause my mother
came from New England.

Roasts and fresh peas
and mashed potatoes.

But nobody discussed food
a great deal

because it just wasn't done.

In that white,
Anglo-Saxon society,

there were proper things
you talked about,

and there were things
you did not discuss.

Anything to do with sexuality.

You didn't discuss politics.

You definitely did not
discuss money with people.

She told people

that she was middle-class.

But they had to be
really wealthy.

The fact that
she never cooked--

I don't think
that her mother cooked.

I think the cook cooked.

I was entered at Smith College.

And in those days,

women weren't taken
very seriously

as anything
but just broodmares.

You could get married,

but you didn't go in
for a career

'cause there weren't any.

I wasn't preparing myself
for anything.

I was leading, really,
a leisurely, butterfly life.

I graduated in 1934.

My mother became ill.

She died
when she was around 60.

I went back to Pasadena,
took care of my father.

Julia's father,
John McWilliams,

was very strict
and very conservative.

I think Julia loved him
very much,

but it was hard
to get close to him.

Her father really believed
that like should marry like

and that Julia
should become a traditional,

upper-middle-class,
well-married woman.

PRUD'HOMME:
Most of the women

in Julia's circle
were getting married,

and she wasn't.

She was always a bridesmaid,
never a bride.

Julia's father,
he wanted her to marry

the scion of
theLos Angeles Times family,

and Julia
didn't want to do that.

If I had to marry

a conservative banker
or lawyer,

I would have
played golf and tennis,

and I probably would've been
an alcoholic.

PRUD'HOMME:
She was proposed to,
but she declined.

Julia broke with her father,

and she stood up to him.

PRUD'HOMME:
She had these kind of

romantic dreams
for what her life might be.

She was really pining
for adventure.

America is at war.

Its battle cry penetrate to
the four corners of the Earth.

Army, Navy and Marine
recruiting stations

bulge to overflowing.

Every day,
new legions are being called

to active duty,
afloat and ashore.

Wasn't until World War II

that everything really changed.

Everyone was dying
to do something.

You wanted to get in and help.

So I joined up.

I had nothing to offer
except I could type.

So I ended up doing office--
Menial office work,

and eventually got into the
Office of Strategic Services,

the OSS,
which was the precursor

of the CIA,
or Special Intelligence.

I did want to be a spy,

and I thought I'd be
a very good one

because no one would think
that someone as tall as I

would possibly be a spy.

She was not a spy.

She did work with spies,

working with top secret files
as a clerk typist.

The OSS began to recruit people

to go to the Far East,
so I volunteered.

With Julia,

World War II
made a big difference.

It was freedom.

She never looked back
with any wistfulness

on the conservative,

rather narrow life
that she had lived until then.

We sailed to Ceylon.

It's a mountainous island.

Charming and fascinating
in those early days.

Kind of exotic.

And that's...
That's where I met Paul.

We were building
the Burma Road at that point,

going to China.

And Paul, he was in charge
of maps and diagrams.

He was a graphics artist.

Paul was a polymath.

He did not go to college.

He was self-taught.

But he was
a very, very bright guy.

PRUD'HOMME:
Paul was 10 years
older than Julia.

He had experienced life
in a way that she hadn't.

PRUD'HOMME:
After Sri Lanka,
they were posted

to Kunming in China.

When she met Paul,

she felt she really knew
so little about civilization

and just enjoying the world.

Paul was a gifted photographer,

and he gradually introduced
Julia to artworks

and the way people lived
and to food.

We were able to go out and eat

in the restaurants,
and that food was delicious.

I'm sure it was a revelation.

Paul helped open up
another world, other worlds.

Try and imagine
what it must have been like

for her to discover food
and love and everything else

all at the same time.

What a whoosh of joy and life
it must have been for her.

Unconditional surrender

and the return of happier days.

After the bomb dropped,

the war ended
really immediately.

We went back home
and decided we'd get married.

So we had a nice wedding.

PRUD'HOMME:
Paul Child and John McWilliams

were at either ends
of the spectrum.

Julia's father would
dismiss Paul as an artist

and a liberal
who cared about food and wine.

Paul would dismiss Big John
as a conservative businessman.

Julia's father
was very Republican.

When Julia married Paul,
she became a Democrat.

My grandfather was, "What?"

That's not supposed to happen.

After the war,

the diplomatic corps
sent people abroad.

And Paul spoke
beautiful French,

so he was sent over to Paris.

And that was where
our wonderful life together

really began.

We drove through this
beautiful French countryside.

I was just beside myself
with excitement,

seeing these ancient buildings
and old churches.

And we landed in Rouen.

I remember my first meal there.

We had a beautiful first lunch
at La Couronne.

They have this delicious
filet of sole with butter.

It was my first French food,
and I never got over it.

Sole meunière.

If you have a sole meunière...

First, you need a big sole.

Thick filet.

You melt butter,

and when the butter
start to make little bubbles,

you put your sole
on both sides.

And the flesh is transparent.

It's absolutely delicate.

It's one of
the finest things in life.

You just add some salt--
Very few salt.

- -and some drops of lemon.

Just a fish.

Perfect fish in butter.

C'est parfait. It's perfect.

And she said, "Voilà. Voilà.

I found my way with a sole."

It was just
absolutely delicious.

And as soon as
I got into France

and realized
what it was all about,

it came upon me that

that was what I'd been
looking for all my life.

One taste of that food,
and I never turned back.

We settle in the top floor
of an old private house

in Paris.

They take food so seriously,

and that's what really got
to me when I got over there,

that the waiter is so much
interested in what you order.

It's a very serious business.

SIMON

She didn't care
about fancy things

like Louis Quatorze.

And what a lot of people love
about France is froufrou

and all that.

But she loved the way of life
and the food.

PRUD'HOMME:
In the summer of 1950,

Julia invited her father

and her stepmother
to come to France.

Paul and Julia did their best
to take them

on a trip around the country,

show them
some of their favorite places.

But John would spend
a lot of his time

complaining about the French

and didn't understand
the culture,

didn't understand the food,
and didn't really want to.

I decided
that I would really like

to do serious delving
into cuisines,

so I enrolled
in the Cordon Bleu.

The Cordon Bleu,

it's the oldest
cooking school in Paris

with the top, top chefs--
Professional chefs.

- -and we glorify
the artistry of cooking.

You have to understand that
French look to their cooks

and always has been looking
to their cooks as artists.

They had classes for
the GIs on the Bill of Rights.

Because of the GI Bill,

all the soldiers who had
come back from World War II

had the right to be funded
to go back to civilian life.

So Julia was in fact
with 11 GIs,

being trained by Max Bugnard,
a fantastic chef.

Let's face it: Max Bugnard,
as very many, uh...

chefs-- Uh, male chefs,

was thinking,

"She was the only female
with the 11 GIs.

Was she going to be serious?

Could she even be
a true professional?"

In France,

cooking was a world of men.

SIMON

In my youth, I always heard

a woman cannot be a chef

because, uh, in kitchens,
pans and pots are heavy.

It was just fascinating

to see how much
there was to learn.

The more I got into it,
the more I loved it

and the more I appreciated it
as a true art form

that you could spend
your life over.

We French love codifying.

The last 200, 300 years,

France codified
the technical skills

and the fundamentals
of cuisine.

It's like architecture
or, um, in music:

you have to know
your fundamentals,

and then you can play with it.

A lot of it's handwork
that you have to develop

how to chop rapidly

or the perfect dicing
of things.

All that takes practice.

It really requires
every aspect of your psyche

and imagination and creativity.

Nothing was too much trouble

if it's gonna produce
a beautiful result.

I would go to the Cordon Bleu
at 7 in the morning

and finished at around 11.

And then I would rush home
and prepare a fancy lunch

for my husband Paul.

God knows it's a love affair

with Paul.

I say it was obvious.

He was smaller than Julia,

but he was looking at her
with eyes, magnifique,

and, uh, and she would...
"Paul?"

She was always asking,
you know?

It was like--
How's a pigeon do?

"Oh-coo," you know. "Paul?"

Cooking, it's an expression
of what you learn

and what you see,
what you smell,

what you are able to do
with your fingers.

And when you cook,
you give your love.

It's more than
to feed your body.

It's, um... Have pleasure.

SIMON

With Julia and Paul,

clearly you read
between the lines.

I mean, he comes home,
she makes him a great lunch,

and they obviously
go to bed every day.

Julia's advice
for a good marriage

was to maintain the three Fs.

You had to feed your man,
you had to fuck your man,

and you had
to flatter your man.

Everyone we knew in
France was interested in food.

Most discussions
were about food, really.

Julia met Simca

at a party, and they found

many, many things
that they could share.

Simca, Simone Beck,
she was a very good cook.

We met and we just immediately
became bosom friends.

I had some American friends
who wanted to learn cooking.

So they said,
"Will you teach us?"

And I thought, "Heavens,
I'm not ready for that."

But Simca was.

And then she also had
her colleague and friend

Louisette Bertholle.

So we started our little
cooking school in our kitchen,

which had room enough
so we could have six pupils.

Simca and Louisette
had been doing a book

on French cooking
for Americans,

and they needed
an American collaborator.

They needed an American view.

American attitude.

So we started writing our book.

The goal of the book was

to make French cooking
for Americans

with American products

so that you could
replicate it here.

Simca, her partner,
found that difficult

'cause Simca felt
it should only be done

the French way, regardless.

My aunt Simca
was a very willful woman.

"You don't do it like that!

No. That's not how you do it.

You do it like this!"

It sounded like orders,

like she wanted
to regiment everyone,

like a police officer.

Simca was not an easy woman.

Nor was Julia.

They both had
very strong opinions.

I had started in quite late

when I started cooking,

and I found that the recipes
in all the books I had

were really not adequate.

They didn't tell you enough.

So I felt that we needed
fuller explanations

so that if you followed
one of those recipes,

it should turn out
exactly right.

They would try
the recipes again and again

to make sure they work.

There were a lot of revisions.

Julia was quite scientific.

She was kind of like a chemist,

doing the experiment
over and over

and over again
until she got it right.

She did not know
how to take shortcuts

or to do things
by half measures.

"Okay.
It's not working this way.

We're gonna have to do it
all over again."

Do it all over again.

I sent a copy
of this group of recipes

to a friend of mine
at Houghton Mifflin.

And they offered us
a contract for a book,

so we were delighted.

Then Paul Child's career

took them away to Marseille.

At the time, we didn't have
the means that we have now,

email or anything.

So it was all by mail.

Simca would type recipes,

send them to Julia.

Julia would send her own ideas,

and back and forth.

It was a tremendous
amount of work.

It took 12 years
to write the book.

She would type all of
the recipes in triplicate,

and she would send one copy
to my mother,

who was her younger sister,

to test out the recipes
as an American housewife.

Her directions are as though
she's standing there

in the kitchen with you,
holding your hand

each step of the way.

The book was finished,

and we sent it
to Houghton Mifflin...

...and they rejected it.

They said to her,

"Nobody wants to read
a treatise on French cooking.

People want
a mix-and-stir cookbook.

They want something
that's convenient."

Cookbooks at that moment
in time,

they would not
go particularly deep

in terms of explaining recipes.

And Julia's book was

a very different proposition

than anyone
had ever seen before.

That was very disappointing,

to have Houghton Mifflin
turn it down.

Terrible.

She really had great hopes
that it was gonna take off.

PRUD'HOMME
At the same time,

Paul was deeply frustrated
with the bureaucracy

and the petty politics
in the U.S. embassy.

He was called back
to Washington

and was accused of being
a communist and a homosexual.

The accusations were untrue,

but he was humiliated
and furious,

and he ended up
taking an early retirement.

In 1961, Julia and Paul
moved into their house

in Cambridge, Massachusetts.

Paul didn't have
a career at that point.

I think they were
a little mystified

as to what they'd do.

An editor at Knopf
by the name of Judith Jones

got the manuscript, read it,

and in a memo, she wrote,

"Reading and studying this book
seems to me

as good as taking a basic
course at the Cordon Bleu.

I think this book
will become a classic."

Judith needs to convince
Alfred A. Knopf,

the publisher, that this is
a book that has merit.

Alfred was not convinced
at the outset,

although Judith's passion
for the project

led him to believe
that this is a book

that they should
take a flier on.

The title that
they arrived at is

Mastering the Art
of French Cooking.

When Judith presented
that title to Alfred,

he said to her,

"If anybody buys this book,
I will eat my hat."

When the book came out,
Simca came to the USA.

At that point, in 1961,

I don't think
there were many book tours.

But we decided
to go around the country

to promote the book.

I was invited
to be in a book review program

in Boston.

To liven things up,
I made an omelet.

So that's how the idea
of a cooking show started out.

From the first time
she appeared on that show,

Julia was different
from anything on television.

On television, women were

basically part of
the window dressing

young and attractive
in a sexy way,

or everyday housewife type,
but a housewife on steroids

because nobody dressed
like that in reality

to be in their homes.

And you certainly
didn't see them

telling people what to do
or teaching in any kind of way.

They were objects.

There are no clean socks.

The tradition was essentially

that only the men
were important.

Women were really to be
in their place.

They were told,

"Stay at home, be docile,

and forget
that you ever had a brain."

When we started
The French Chef,

I think I was paid $50 a show

because it was
just an experiment.

The station executives
wanted to see

if this thing would fly.
And they said,

"You know, not everything
we try is successful."

We had no studio space
for the show,

and the Boston Gas Company
came to the rescue,

and they said, "You know what?

We have
a demonstration kitchen.

It's got a nice flat floor

so you can roll your cameras
around on it."

WGBH was kind of wild
and woolly.

Everything was
pretty low budget.

They scraped by month to month.

Only with this bus
crammed with equipment

can we record
on-the-spot reports for you.

Most of
the major programming was done

out of a mobile unit

that had a generator,
three cameras and a cable.

We carried all the cameras up
three flights of fire escape,

which, in the winter,
was a daunting project.

We had big, heavy,
awful cameras.

I hated those cameras.

Tubes-- Literally, tubes
would fall out on the floor.

There was a lot of
creative work with duct tape

holding things together,

patching things up
that started to fall down

in the middle of things.

I pointed out to her

that we had no tape editing.

We weren't to cut it
in any way.

There was no teleprompter,

so we had to do it
in long takes.

Welcome to The French Chef.

I'm Julia Child.

Today, we're cooking a goose.

We're gonna use
the goose liver.

And the goose liver
is enormous.

A pale liver
is usually the best color,

rather than the dark one.

So we're gonna use this
in the stuffing.

So we just chop it up.

Then we're gonna
sauté it in butter.

The first shows
were live on tape,

which gave it
a kind of breathless quality

which was rather nice.

This should sauté for, oh,
just about a minute or two.

But whatever happened happened.

When you're ready
to cook them...

I'm sticking on a bean.

She had to devise an outline

of points
that she wanted to cover,

but she didn't
memorize anything.

She prepared her work
meticulously.

She would type
these things out, single space,

two or three pages

of what happens after this
and after that.

And mix them all up.

They would do this
to the chicken,

- would do that to the chicken.
- There.

She knew
what she was going to do,

and I was just really
the traffic cop.

Turn the blender on...

Julia was a master

at getting everything together
and then just letting it roll.

...adding a little olive oil
till it gets thicker.

She could ad-lib endlessly.

...which is a smaller amount
of vinegar in the beginning.

By about this time,
it'll be so thick.

So in that case,
you thin it out

with a little lemon juice.

I had the young producer
Ruthie Lockwood.

She had a very good sense
of drama,

and she always said, "You want
to come on with a bang,

and you don't want to go out
with a whimper."

What's missing in this picture?

The goose.

And here it is,
all juicy and ready to eat.

This is a dough
with yeast in it

that I'm slapping around here.

Look at this magnificent head.

We're gonna do
bouillabaisse today.

It was often just one dish

so that we could
really go into detail.

They had to have food
in different stages ready

the raw fish,
the partially cooked fish,

the fully cooked fish.

There. Now that's ready to eat.

We used the heavy, nasty mic.

In fact, it even had
a little charge to it.

Occasionally,
she would get a little shock.

Every time I touched the stove,
the microphone would go:

If Paul wasn't busy,

he'd be sharpening a knife
or he would be

scrubbing some residue

off of the bottom
of an omelet pan.

He was a big, big help.

We'd find that I didn't have

any feeling for time

and they're just
galloping through it.

So we changed the system
of having idiot cards.

I had little signs that said

"slow down" and "speed it up."

"Sweat."

The producer, Ruth Lockwood--

Bothered her that Julia
would be dripping sweat

into the various dishes
that she was working on.

I've got my heat on so high,
I'm just getting boiled.

I would hold the "sweat" thing,

and Julia was supposed
to mop her brow

rather than continue to pour.

Everybody in the crew enjoyed
watching her prepare the food.

And we knew we were gonna get
to eat it at the lunch break

and then again
at the end of the day.

- DIRECTOR: And how was the food?
- Oh, delicious.

Of course.

When you hold your knife,

you take your thumb
and forefinger

and grip the top
of the blade like that,

and then hold
the rest of the knife

in your other fingers.

You see? That way.

It was really a teaching show.

I was trying to teach
the proper way of doing things.

And your knife knocks
against your knuckles

as you move your finger
down like that, see?

'Cause it makes
all the difference

in the taste.

That care,
thatcuisine soignée--

That's what gives it
that lovely French taste.

She really got across

what was the essentials
of the dish.

If you just cook
the flour slowly,

you're gonna get
a much smoother

and nicer-tasting sauce.

If you felt that it didn't
have enough garlic,

you could put some in now.

And you must remember

to taste as things are cooking.

It's good, but it needs
more salt and pepper.

Does it need more salt?

We need more sugar.

Is it getting too sticky?

Well, that's very good.

Here is a great big old
bad artichoke.

And some people are
terribly afraid of it.

At that point,

people weren't
very adventurous.

The general public never
had eaten a fresh artichoke

or fresh asparagus
until we began showing them.

I'm gonna try
and flip this over,

which is a rather
daring thing to do.

You just have to have the
courage of your convictions,

particularly if it's sort
of a loose mass like this.

No, that didn't go very well.

If she made a mistake,

she was not remotely rattled.

I didn't have the courage
to do it the way I should've.

But you can always pick it up,

and if you're alone
in the kitchen,

who is going to see?

She felt that

making a mistake
was a good thing

just so that she could then
show you how to fix it.

Anytime that
anything like this happens,

you haven't lost anything

'cause you can always
turn this into something else.

We'll pretend that
this was supposed to be

a baked potato dish.

Some people would accuse me

of doing things purposely,

but anyone who's been
in the kitchen knows

that awful things happen
all the time,

and you just have to make do
with whatever happens.

This is
a maximum-security oven.

It's not to be opened
for 25 minutes

or everybody will be
court-martialed.

There's a soufflé in it.

I think educational television

has to be entertaining.

It can't be dull.

Here it is, just sitting up,
waving at you.

We made it fun

cause I was
having a good time.

So many people
seem to hate fish.

"Oh, I hate fish!

Why do we have to have fish?
I just hate it!"

She was such a character.

That voice.

...called la tarte tatin.

The fact that
she was so theatrical.

You just beat it.

Flit-gun! That's all you need!

I'm all ready to make fish!

She was always waving things
or banging things.

I'm Julia Child.

But she really knew

what she was doing.

Terrific technique.

Here's the dome of caramel.

She would make

the most ridiculously
complicated recipes

and then pretend like
it was simple as can be.

She comes off.

Whether you cooked
or didn't cook,

people would just
watch her for fun.

Everyone would say,

"Have you seen Julia
this week?"

The French Chef,
a mere inexpensive effort,

seemed to capture the
imagination of its audiences

and granted public television

audiences
that it never had before.

The inimitable Julia Child.

She really had a big hand

in making public television
take off.

Welcome to my Emmy kitchen.

She's a celebrity

wherever people see
her television programs

or read her books.

I cannot tell you

what it was like
to look out of a hotel window

at 7:30 in the morning

and see 500 or 750 women

waiting to see
Julia Child cook.

And of course, sales of
Mastering absolutely soared.

Julia really started
the whole love of cookbooks

and the whole desire
for publishers to promote them.

Mmm.

Mmm. I think I love you.

Ooh, it's good.

It was a surprise,

how it took off.

She was in her 50s.

I don't know what she expected,

but I imagine
she hoped it was gonna work.

But I don't think she had any
idea of the magnitude of it.

Will you please welcome
Julia Child.

Tell me something,

is there an attitude or
a-a frame of mind

or, um, a personality type
or something

that makes for a good cook?

Would I qualify, for example?

If you're hungry, yes.

Looking forward and salivating

over what you
are about to prepare,

- I think, is very important.
- Mm-hmm.

And I find there's a sensual
pleasure in handling food.

- Oh, I think so.
- Does that mean I'm odd?

It seems that-- I think

that you're following
the modern trend of America

'cause I think
more and more people

are getting interested
in cooking...

Yeah....as a creative activity.

I happened to appear
at the right time,

just when people were ready

to go into
some more interesting cooking.

The Kennedys
were in the White House

when I started out.

They had their wonderful
French chef,

René Verdon.

Everything they did was news.

And when they did,

the food, of course,
then became news.

America was looking

beyond its borders.

It seemed to be a moment
where we were ready

to embrace culinary horizons.

We were ripe for a change,

and there I was.

Today, we're gonna make
chocolate cake,

and it's a very special,

very chocolately,
bittersweet, lovely cake.

Julia was not

a particularly
remarkable beauty.

She was middle-aged
with freckles,

and her hair changed daily.

But you were mesmerized,
spellbound,

by what she was saying.

Cooking is--

Well, lots of it
is one failure after another,

and that's how
you finally learn.

Now shatter it.

Just like that.

It's very nice
to know that you can

make all these goodies
yourself.

She opened doors for me
as a person,

that I could cook.

We're making the stew of stews!

Boeuf bourguignon.

We would watch Julia's show

with my grandmother,

and then Grandpa would
go buy the ingredients,

and we would cook that meal.

She just seemed
so unpretentious

that you thought, if she could
do it, you could do it.

We all grabbed onto Julia,

and we began
cooking her things.

You might mispronounce it

or you might not know
which fork to start with.

It's okay. But you can do it.

Her coming on television

and telling America
that they could make great food

out of the supermarket

virtually changed the landscape
of food in America.

People didn't make
Jell-O salads

and serve them
at a dinner party anymore.

There, this wonderful,
steaming stew.

You see how nice it is
to have these big chunks.

There.

That's all for today
on The French Chef.

This is Julia Child.

Bon appétit.

In France,

Julia has no reputation at all.

Mastering the Art
of French Cooking

was never translated in French.

When I talk about Julia
and Simca, no one knows.

There's no trace of their work.

- Ah, Simca.
- SIMCA: Here we are.

Ready, finally. Okay.

So we're going to make this
special pâtes de printemps.

Pâtes de printemps.

EÉpi-- Aux épinards. Aux épinards.

I remember once asking my aunt,

"Does it hurt you that she's
so successful in America?"

She simply replied,

"She's a businesswoman now."

Now, you could even use, um,
a pie crust mix, couldn't you?

I'm French.
I hate the mix.

PRUD'HOMME:
When Julia and Simca wrote

Mastering the Art of
French Cooking, Volume 2,

Julia felt that she brought

all this American publicity
to the table.

And so she wanted
to get a little bit more

than 50 percent of the deal.

And Simca balked at this,

but Julia stayed tough
and insisted.

She wasn't always
the genial Julia that you saw.

She had a lot
of her father in her.

She could be
a very tough negotiator.

And eventually, Simca agreed.

At one point,
a magazine sent reporters

to take pictures.

Simca was not included
in that session.

I know that
she was really hurt.

The relationship became frosty

because it was hierarchical.

It was Julia Child and Simca.

Julia was the star.

The station executives
were determined

that we continue
these cooking programs.

We're having
a cheese and wine party

today on The French Chef!

...onto the platter,

and that unmolded very badly.

That's too bad because
it does look very nice.

Rule one, strangely enough, is

read the recipe.

Mastering was such a success
that it led to book after book.

There was a great appetite

- for any new Julia content.
- Welcome. I'm Julia Child.

You'd better have
one of these food processors

'cause then you can do it
all by yourself.

Tonight's show features
two great cooks

uh, Jacques Pépin,
uh, who at one time

was the personal chef
to Charles de Gaulle,

and Julia Child,

who needs no introduction
or explanation.

We were gonna start with some
shrimps, were we?

Yes, okay.

- Start with shrimp.
- JULIA: They're down here.

Are you going
to sauté those in there?

Want me to do some--Yes. Well, um,

I hate to admit that I just
cut my finger beforehand,

so I'm gonna let you
do the sauté.

...and Julia took it
to cut a shallot

and take the end
of her finger off. But...

A big piece like this.

So I push it back together.

It was all-all by the-the skin.

I push it back together,
and I tie a towel around.

And then you want
a whole orange cut into pieces.

Did you do
this in the kitchen?

I did this in the kitchen.
I was... Heh.

Excuse me for laughing. Sorry....doing a show

last night...
But-but
I-I thought good cooks

were not supposed
to do that.

Well, I don't know. I just cut
a good piece of my finger.

Did it go in the preparation
or the, uh...

Well...

That wasn't part
of the recipe, no.

I see.

I'm Julia Child.

Today, we're going to make
a holiday feast,

or le fête d'holiday.

We happened to turn it on,

and there it was, live.

Err-- Oh!

Oh. Now I've done it.

I've cut the dickens
out of my finger.

Well... I'm glad, in a way,
this happened.

You know, accidents do occur

from time to time
in the kitchen.

Oh, oh, God, it's throbbing!

Oh! Well, a tourniquet...

She had a copy,

and at dinner parties
at her house,

she would show
the Dan Aykroyd tape.

It was very funny.

We loved that.

Why are you all spinning?

Well, I think I'm going
to go to sleep now.

Bon appétit.

One time, I said, "You know,
Julia, I sometimes forget,

when I'm with you,
how famous you are."

And she said,
"You know, so do I."

And I think she did.

Onto the buffet for 19.

Even at the height of her fame,

she didn't become
commercialized.

...wine that you'd serve
with it.

She really felt very strongly
about not endorsing products.

When she would have products
on camera,

we were in charge of
masking tape over the brand.

PRUD'HOMME:
She would say,
"You should have some wine,"

but she wouldn't say
what kind of wine.

Why should her favorite salt

get promotion from her
when she hadn't tried them all

and there might be others
that she liked as well?

And not to have anyone
buy their way onto the program.

Julia Child,
you were quoted as follows:

"I think the role of a woman
is to be married

to a nice man
and enjoy her home."

Do you stand by that?

Yes, because I'm a--
I'm a homemaker

as well as a TV cook
and a teacher.

I wondered if
the women's liberation movement

had-had caused
any adaptation by you

in your sensibility
to their needs?
No.

Well, I'm a working woman
myself.

- You sure are.
- Our working day stops

at around 7,

and when the news goes on,
I start dinner.

The making of a home is, to me,

one of the most important
things in the world.

I just love
living with my husband,

and I can't imagine not having
a happy home with him.

PRUD'HOMME:
Julia never called
herself a feminist,

although she was clearly
really important

to the feminist movement.

Women were treated pretty badly

in cooking school.

Teachers were
all European male chefs,

and they'd rather not
have women in their kitchen.

Most women felt
that they couldn't

really have a career
making money in food.

But her success
really opened up a career path

to a lot of women

who may not have thought
about it at the time.

When I started
working with Julia,

we'd walk into a restaurant
to have a meal,

then afterwards, they'd want to
give us a tour of the kitchen.

And the first thing
she would say is,

"Where are all the women?

How come
there's no women in here?"

She absolutely expanded
the possibilities

of what women could do.

A lot of the people

in our neighborhood
were Harvard faculty.

All men.

But Julia was
one of the major figures.

She was very eager to meet
everyone, to learn about them.

But Paul was always
an enigma to me.

I never quite knew
what was going on in his mind.

He was very exacting
about words.

If you used the wrong word
or pronounced it incorrectly,

he would let you know.

He was very proper.
Very proper.

And he was critical.

People were afraid of him.

But she adored him.

She had a pet name for him.

It was "P'ski."

And that's
what he responded to.

He's a one-man art factory.

He's a painter
and a photographer,

and he can
make furniture and...

Huh....do just about anything.

And we've always liked
to do things together.

Hi, Julie. This is Paul.

Listen, I've got two friends
I want to bring home to dinner,

and we'll be there
in about half an hour.

Can you make it?

Aha. Company for dinner
in half an hour.

PRUD'HOMME:
Paul became
her business manager,

her chief mushroom dicer,
dishwasher.

If Julia was the boxer,
he was the cornerman.

Paul, who was very organized,

made sure that Julia had
everything she needed.

He helped her do the research,
he wrote up the cue cards,

made sure she had her knives.

He made sure
she was ready to roll.

I wouldn't be doing anything

if I weren't with him
'cause he's been

a wonderful support
and an encourager.

He watched
with enormous pleasure

as she eclipsed him.

Men of his generation
just did not do that.

They did not push their wives

to be the best
that they could be

and then happily stand back

and do everything they can
to help her career.

My aunt Julia was very sad

about not being able
to have children.

I think she would've liked
to have had at least one.

But that wasn't to be.

She saw me
as a child she didn't have,

and, actually,
all her nieces and nephews.

She embraced us
as her children.

What she said to me later was,

"Well, because
I didn't have kids,

I could throw myself
into...to work."

I want to do this very slowly.

Turn it over.

Push it back just a little bit.
You can see that's...

She got word
that she had breast cancer.

Paul was absolutely devastated.

He thought
he was gonna lose Julia.

Julia was very
stoical about it.

In Julia's family, you would
never talk about illness,

let alone cancer.

You didn't want
to upset people.

She never complained about it.
She never complained about it.

She would say,

"I've got to go in
and get this taken care of."

She had a scar
that ran from her shoulder

almost down to her belly.

And she said
she was in the bathtub

and looked down at herself
and was sobbing.

Paul came into the bathroom
and said, "What's wrong?"

And Julia said, "How are you
gonna ever love me?

Look at-- Look at me."

Paul said, "I didn't marry you
for your breast.

I married you for your legs."

And so she said she never
gave it another thought,

and that was... That was that.

I'm perfectly fine now,
and thank heaven.

I'm just very grateful
to be alive.

She is really
a "tomorrow" person.

She's not a "yesterday."

We don't care
what happened yesterday.

We only care
what happens tomorrow.

Please welcome now Julia Child.

You go at things
in a rather fearless manner.

And it just shows a very
direct approach, which, uh...

You have to be careful
because you do get criticized.

Julia was very
strongly pro-choice,

and she supported
Planned Parenthood always.

Have you ever been to any of

our Planned Parenthood
centers before?

The doctor will...COUSINS: She thought it was

very important for women

to be able to determine
their own lives.

Julia Child became part

of what was called
our Board of Advocates.

She opened up the idea
that we could have people

known for something
other than health care,

but who understood
the importance of women

and women's rights and women's
access to health care,

be part of this movement.

Julia's audience

were women from
all walks of life.

They were in rural America.
They were in big cities.

And the power of her saying,
"I support Planned Parenthood.

I stand with
Planned Parenthood,"

was really important.

The crowd at
Stepherson's supermarket

was primed and ready
for the cook's arrival,

jockeying for
the best position

to buy the limited number
of autographed cookbooks.

But a group outside
was busy protesting

what they feel
are far more important matters

than how to
best broil the beef.

We're out here
to let the people know

what, uh, stores,
what agencies and businesses

are supporting the abortionist
Planned Parenthood.

They say
they're going to picket

every Memphis appearance
made by the culinary queen.

She risked her own celebrity,

her own reputation, to
associate herself with an issue

that some people found
controversial.

That kind of backlash,

she just let that roll off.

In France and Italy,
it isn't even an issue anymore.

And if we had the Planned
Parenthood in the schools,

then we wouldn't
have to have any abortion.

When Julia had
deep convictions like that,

she was unflappable.

The best French way
of doing green vegetables

is to put them into an enormous
pot of rapidly boiling water.

Fifteen years,
I've been at people

for how to cook things
properly.

Julia had given

our mothers, our aunts,

the idea of trying
to make great food,

but our generation

tried to take it
to the next step.

These young cooks set out

to start going to farmers
to get great food.

Julia's notion was that
anybody who learned technique

could cook great food
out of the supermarket.

Our mantra was the opposite.

You can't cook good food

unless you've got
great ingredients.

You run into all this business
on the nouvelle cuisine

of crunchily underdone
vegetables.

Then you can't eat 'em
'cause they're practically raw.

She was defensive.

She'd been queen for so long,

and she had so changed
American food

that the notion that there was

a generation
that was critical--

I mean,
she was not used to criticism.

And action.

Give me the wide shot!

Hold for me, freeze!
Give me the matches!

PRUD'HOMME:
1980, Julia had

her first really big setback
with PBS

when they didn't air her new
program all across the country.

Why are we not going to see

your new show here
on public television?

I don't know.

It's up to every
public television station

- what they want to show.
- Th-this--

Maybe they don't like food.

PRUD'HOMME:
PBS started to take Julia

less and less seriously,

focused resources
in other ways.

I think it had something to do
with her gender and her age.

They were sort of
easing her out.

They were getting ready
to put her out to the farm.

Julia was
hugely frustrated by this.

She said, "Forget it, PBS.

I'm done." And she quit.

She could have
quietly gone into retirement,

but she didn't want to do that.

She would say, "If they don't
see you on television,

they think you're dead."

Julia was a dynamic force
that would not be silenced,

would not lay about,

waiting for her next
great television show.

PRUD'HOMME:
And so she went to work for

Good Morning America,
ABC's commercial show.

That's tomorrow on
Good Morning America.

This morning, Julia Child
is back with us in our kitchen.

PRUD'HOMME:
On GMA,

she had to do an entire dish
in three minutes.

But she learned to adapt,

and it provided her
a much larger audience.

When I first met her,
I was intimidated.

I was meeting an icon.

How am I gonna approach her?

I didn't have to.

Knock-knock-knock on the door,
and in she bursts.

"Darling, deary,

we're gonna have so much fun!"

You don't put your hands
on that.

- Oh, you don't, okay.
- And I'll explain that later.

Julia was
an incorrigible flirt.

You say to-may-toe, I say
to-mah-toe.
No, I just...

You say po-tay-toe,
I say po-tah-toe.

- I don't say po-tah-toe.
- Oh, I'm sorry.

Here's this 75-year-old woman

that I'm talking to--
Or on into her 80s.

- -and yet she's flirting.

She's making you feel
as if what you're saying

is just the smartest thing
she ever heard.

If you were to invite me
to your home for the holidays--

Fat chance, but if that--

- Well, I would.
- Would you? I'd come too.

- I would if you'd come up.
- I'd love to.

I'd give you a wonderful--What would we have?

We'd have hamburger.

- But in a very special way.
- Yeah.

She liked to flirt.

I know.

I know.

We better taste it, I think.

I've got
an impeccably clean mouth.

You?
Yes.

We say in French,

She was wonderful with women,
don't get me wrong,

but she really liked men
the best.

She was friend with men.

They were-- Some were gay.

The other one, uh, loved woman.

You know, uh... I mean,
you know, it's life.

She liked straight men better,

although the cooking world
is full of gay men.

Many of them
she was very close to.

Bob Johnson was her lawyer,

and she felt
a great loyalty to him.

I don't think
that Julia thought

that Bob Johnson
was homosexual.

He had a girlfriend
that came to all the parties,

and she used to say,

"I wonder when they're ever
going to get hitched up."

She just didn't see it.

- Did not acknowledge it.
- Yeah.

She called homosexuals "homos."

"Did you see all those homos
in the audience?"

It was derogatory.

It was new for all of us.

We were coming out
of, uh, a period

of when gay-gay people
didn't exist,

or weren't--
Really weren't meant to.

Bob told her he had AIDS.

PRUD'HOMME:
When Bob Johnson died of AIDS,

it really hit her hard.

She did a 180,

and she had
a revelatory moment.

She would say, "Who is gonna
take care of these people?

They've got
this horrible disease

that nobody understands."

And so she did an AIDS benefit,

and she thereafter
became quite outspoken about

her support
of the gay community.

AIDS is just

a horrible disease,

and we have to make everyone
very well aware of it,

and this is one of
the very best ways of doing it.

Food is love, isn't it?

'Cause it gets
everybody together.

Julia came from a place

where there was
a very set notion

of how a person
lived one's life.

But she was a person
who was very much about,

"I can learn."

Her whole life
was about evolving.

Oh, look at that.

Can I have a little taste?

Mmm.

That's a sausage.

Julia loved to eat.

What are these?
Can I try one of those?

Uh, artichokes. We...Artichokes.

- Yes, yes.
- I'll just take one.

This one okay?

Julia's appetite was
absolutely astonishing.

People were always
bringing special dishes.

"Julia, I would just like you
to taste this."

And she not only tasted it,
she would eat it all.

Mmm.

No matter where we were,

in someone's home
or at a restaurant,

when her food came,
she started eating.

It was what she called
"French rules."

When you're served, you eat.

Oh, those look tender.

Yeah.

She had the fastest fork

of anybody
I've ever eaten with,

reaching across
and tasting your food,

sometimes without invitation
to do so.

She just reached out
and grabbed it.

Never had Julia Child
eat off my plate before.

That's, uh...
Mm-hmm.

Are there any foods
that you don't like?

I don't like things
that are not fresh

and not well-prepared
and cooked by someone

who doesn't know
what they're doing.

- PEÉPIN: Beautiful.
- JULIA: Look at that.

Isn't that nice?

- And now the best part of it.
- Is the eating.

Eating, yes.
Okay.

Mmm.

- Very good, huh?
- That's good.

- That's great.
- Mmm.

Now, would friends think twice

before asking you to dinner?

If they could just give me

a good steak or a hamburger,
and I'm very happy.

Good steak or hamburger?
Well, this is my kind of gal.

Sure.
Really?

You're not a health--
you're not one of these...

I certainly am not.
I hate health food of any type.

Julia would cook with butter,
a lot of butter.

I have six and a half
sticks of chilled butter.

Goodness, Julia,
you and your butter.

- I'm telling you.
- WOMAN: Isn't butter fattening?

Nah.

I think there's so much talk
about health and nutrition

that a lot of people
are scared of their food.

So I think,

know what you can eat,
and then enjoy things.

Yes.

What was it like
to have dinner at Julia's?

Wonderful.

Once you got there,
you really got cooking.

It was...That was the entertainment.

We all were given tasks

before dinner to get it ready.

And if you were using
a knife the wrong way,

she'd come over and show you
how to use it the right way.

"Ooh," she said.

"I got a roast beef
from Mr. Savenor,"

her wonderful butcher.

She trimmed the fat.

She slashed it in diamonds

so the drippings would escape.

She'd roast it medium
on the outside,

quite dark pink for the rest.

The potatoes
you cut in big chunks.

Blanch them,
scratch them with a fork,

and they'll absorb
more of the dripping,

and so you get
a lovely, crusty outside.

And gravy.

There'll be
all those nice juices

in the bottom of the pan.

And you add two three cups
of beef stock,

boil the hell out of it.

Until it starts to make
a very characteristic noise.

And that's gravy.

I'm slightly ashamed
to say, um...

I'm constantly thinking
about it.

Julia always
came back to France.

Julia and Simca
renewed their friendship,

and they never ceased
being friends.

Julia and Paul built
a house on the major property

that belonged to Simca
called La Pitchoune.

This is where we live
in Provence.

You smell the olive blossoms
and the linden trees

and the wild herbs.

It's the most lovely country.

She really loved France

and the markets,
and she loved the people.

I could see her come alive

when she got to France.

It was a very special place
to her.

It's where
she discovered herself.

It was such a respite for her

and Paul to be there.

Paul had a heart attack,

and he had a ministroke.

PRUD'HOMME:
That left him
with what he called

"scrambled brains."

Here's this guy who was
this, uh, wonderful intellect,

very physical person,
and he could barely speak.

He was very moody.

He never fully recovered
from that.

It was really hard to see him

lose that major part
of his personality.

But Julia treated Paul

as if he was
as okay as he could be.

So whenever they traveled,
he went.

You never saw her without him.

He would be sitting
in a corner quietly,

but he was always there.

It was sort of
a slow and steady decline.

He had been having
dementia problems.

The decision had been made
that it was time

for Paul to go
to a nursing home.

We took him there,

and she had made sure
that there were photographs

and things from their home
in this room.

And he sat on the bed, and
he said, "Wh-why am I here?"

You know, "Wh-why am I here?
Why am I not in Cambridge?"

And she had to talk to him
and say,

"Well, this is just
a nice place to stay tonight,

and I'll be back
in the morning."

And a lot of excuses.

And then we got into the car
and she broke down.

It was the only time
I've ever seen her like that.

Julia didn't really show
her grief very much.

Even when Paul passed away,
she was pretty stoic about it.

I know
that she cried privately,

but not-- She didn't kn--

She didn't know that
anybody knew or heard or saw.

You know, he was her
life partner and best friend.

It was hard.

It was very sad for her,

but she didn't
let things get her down.

Ever.

She just went right on.

Julia exceeded

everyone's expectations

in her ability
to continue in television

long past the time

when most people would've
hung up their spatulas

and gone on to their reward.

How much longer are we gonna
see you doing television?

Well, till I drop, probably.

We're gonna start out with a
bold, stuffed, roasted turkey.

But now...Oh, here you are.

Julia redefined age by example.

When she was 87,

she launched a 22-part series
with Jacques Pépin.

Happy cooking. Bon appétit.

PRUD'HOMME:
In classic Julia fashion,

she had a détente with PBS,

and she did a few series
with them.

- This is a really good dessert.
- Oh, yes.

PRUD'HOMME:
She was 91

when we were working together
on her memoir.

She did not recognize

her advancing age.

She would be resistant to it.

She would not admit to it.
She would not lie down to it.

She-she was too big for that.

Julia became enormously
generous to young chefs.

She was very supportive
of that.

When Julia Child
came to my restaurant,

it was like taking somebody
out of the TV frame

and walk her
into your restaurant.

She created
a real sense of excitement

about the notion
of food people coming together

and supporting each other.

And here's to our chefs!

And the notion that there was

an American food movement.

When I was a little
girl, I used to watch you.

And you could make a mistake,
and, as a young woman,

it taught me that it was okay
not to be perfect.

Yes, you don't have
to be uptight.
Yeah. Ha, ha!

She was driven by

the social aspect
of what she did.

She loved the energy
of having people around her.

Oh, that's wonderful.

With a nice burn
on it too. Great.

Will you sign this one
too, for me?

I certainly will.

Age did not stop her

until her body
really failed her.

Paul arranged all these.

See, when you take it off,
you can see where it's to go.

These copper ones are all from
when we went over to France,

in-in Paris, in the early '50s.

I think people enjoy
seeing things like this.

This was before
the food processor.

'Cause you would do like that.

Well, the trouble is
you can collect so much stuff,

can't you?

Julia Child died today.

She was 91 years old.

The cooking icon
who demystified French cuisine

and brought it
into American kitchens.

She changed everything.

We need to tell
how important this woman is,

was, will be.

Julia really paved the way

for this incredible moment
of food and pop culture,

making this
very domestic profession

something extremely popular.

All right! We're here!

We've got
eight tablespoons of butter.

They're green beans.

Yum. Ha, ha!

Stand back.

Whoo.

A lot of us write cookbooks

and do TV, as Julia did.

But she got the train
out of the station.

We-- In this stew--

we don't want sliced mushrooms.

We want quartered mushrooms.

And you just cut them
like that.

We're gonna sauté them.

And it always takes
a little while.

You just have to be
patient and wait.

One of the first programs

that we ever did
was that single take

of boeuf bourguignon.

And our sautéed mushrooms.

She starts with the raw meat,

and she finishes
with this lovely stew.

That program,
recorded way back in '64,

was still playing somewhere,

on some educational
television station,

for 50 years.

This is Julia Child,
and for The French Chef.

And see you next time.

Bon appétit.