March 24, 2024 • 67 mins
Venture with us behind the silver screen where the legacy of "Mommie Dearest" blurs the line between legend and scandal. As we unravel the film's cultural impact, we pay homage to the artistry and hardships of Joan Crawford and Faye Dunaway, two women whose identities were forever intertwined by this notorious biopic. The glamorous yet dark underbelly of Hollywood is exposed, revealing the personal costs of fame and the tumultuous journey from memoir to cult classic.
Listen closely as we discuss the enigmatic portrayal of Crawford by Dunaway, a performance that ricocheted from critical disdain to camp reverence. From the infamous wire hanger scene to the method acting that pushed the boundaries of cast and crew, we tackle the complexities behind the film's creation. Alyssa Edwards' drag rendition of the intertwined personas demonstrates the indelible mark "Mommie Dearest" has left on pop culture, illustrating the delicate dance between reverence and caricature.
As we close this chapter, we reflect on the intricate balance between campiness and the poignant human experiences that films like "Mommie Dearest" offer. Holding space for both the laughter and tears, we express gratitude for the emotional depth cinema provides, affording us the opportunity to embrace the full spectrum of human emotions. Join us in this heartfelt appreciation for the stories that shape us, the legacies that define us, and the camp that connects us all.
Listen closely as we discuss the enigmatic portrayal of Crawford by Dunaway, a performance that ricocheted from critical disdain to camp reverence. From the infamous wire hanger scene to the method acting that pushed the boundaries of cast and crew, we tackle the complexities behind the film's creation. Alyssa Edwards' drag rendition of the intertwined personas demonstrates the indelible mark "Mommie Dearest" has left on pop culture, illustrating the delicate dance between reverence and caricature.
As we close this chapter, we reflect on the intricate balance between campiness and the poignant human experiences that films like "Mommie Dearest" offer. Holding space for both the laughter and tears, we express gratitude for the emotional depth cinema provides, affording us the opportunity to embrace the full spectrum of human emotions. Join us in this heartfelt appreciation for the stories that shape us, the legacies that define us, and the camp that connects us all.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 2 (00:07):
If you've somehow managed to navigate pop culture
without actually watching MommyDearest, I guarantee you're
still familiar with its mostfamous or infamous auditory
landmarks.
Speaker 1 (00:19):
Hell yeah, I'm not mad at you, I'm mad at the dirt.
Yes, tina, bring me the air.
No wire hangers.
What's wire hangers doing inthis closet when I told you?
No wire hangers ever, barbara,please, please, barbara, don't
(00:44):
fuck with me, fellas, this ain'tmy first time at the rodeo.
You're fakes.
Mommy, I need to go.
I'm ready to go bald to schooland look like a tramp.
Speaker 2 (00:55):
The film has earned a notorious reputation, not just
for its rebirth in recent yearsas a cult classic, but also for
the stormy history of itsproduction and the profound
impact it had on its leadinglady, Faye Dunaway.
Speaker 3 (01:09):
Do you like all the parts that you have to take in
your car?
Speaker 1 (01:13):
Do I like all of them ?
No, no, when the most difficultpart and I always feel the one
that was the biggest mistake ina certain way was Crawford.
Speaker 2 (01:23):
Today we're about to take a deep dive, no one asked
for, into the swirling vortex ofdrama, controversy and
unexpected legacy that surroundsMommy Dearest.
But we're not here to pickapart the truth versus the
fabrications of ChristinaCrawford's tales of abuse or
past judgment over JoanCrawford's memory.
(01:43):
My true interests are more onunraveling the mystery of how
this film, initially panned andvilified, managed to claw its
way into the cult classic Hallof Fame, changing the
reputations of both JoanCrawford and Faye Dunaway
forever.
I've scoured the tumultuousbehind-the-scenes stories,
(02:05):
zeroed in on what the filmmakerswere trying to achieve against
all odds and examined theaftermath of how this cinematic
venture has reshaped thenarratives around these iconic
women.
But of course, being completelyobjective about Mommy Dearest
is like trying to navigate aminefield blindfolded.
But I've done my homework,sidestepped the landmines of
(02:28):
speculation and done my best tokeep my own conjecture at bay.
Kind of Faye Dunaway herself hasechoed a sentiment that's hard
to ignore.
The real truth of what happenedbetween Joan and Christina, the
depth of their conflict, theirlove, their struggles, is locked
away, accessible now only toGod.
(02:51):
And, honestly, the truth ofwhat's verifiable from the
alleged abuse and what'spropagated over decades of
Hollywood lore is ultimately, atleast for our purposes not ours
to solve, but the impact, thelegacy and the cultural
fascination with Mommy Dearest,the film.
That's a journey worth taking.
(03:13):
This is Cinematic Secrets thedark side of the silver screen,
beyond the silver screen.
Go ahead, make my day.
A world of dreams and fantasiesunfolds.
Speaker 4 (03:29):
They call me.
Mr Tibbs, you can't handle thetruth.
Speaker 2 (03:37):
But within its shadows, a hidden realm of
intrigue and mystery awaits.
Frankly, my hair.
I don't give a damn.
Speaker 1 (03:45):
I could have been a contender.
Speaker 4 (03:49):
Of all the gin joints in all the towns in all the
world she walks into mine.
Speaker 2 (03:57):
Cinematic Secrets beckons you to journey into the
depths where untold storiesshape the films we cherish,
uncover the secrets thatpropelled these classics to
greatness, and unearth thedarker truths lurking beneath
the surface.
Beyond the glamour and allurelies a hidden narrative, a side
(04:18):
untold.
This time we lift the curtainand peer into the darkness that
resides in the very heart of thesilver screen.
Journey with us as we explorethe forbidden corners where
truth blends with fiction andlegends are born.
This is Cinematic Secrets thedark side of the silver screen.
Speaker 4 (04:58):
She was born Lucille LeSouir and she went to
Hollywood from Broadway musicals.
Her first movie was PrettyLadies in 1926, Zazu Pitz was
the star.
She left the world of glamourand dancing in 1945 when she
showed her dramatic abilities inthe movie Mildred Pierce.
She's been inactive in recentyears.
She had no history of seriousailments before her death of a
heart attack this morning.
(05:19):
Joan Crawford was 69 years old.
Speaker 2 (05:22):
Charlotte Chandler, joan's biographer, tells us
Crawford wasn't exactly swimmingin colossal levels of cash at
the curtain call of her life,but she was glocking in at about
2 million bucks.
Most of that loot was passed onto charities, but when it came
to her kids, things were alittle bit more complicated.
The twins, kathy and Cindy, gota decent slice of the Crawford
(05:46):
pie about 77 grand each.
Yet for Christina andChristopher, crawford's will
dropped a bombshell as word ofit reached the public.
It is my intention to make noprovision herein for my son
Christopher or my daughterChristina, for reasons which are
well known to them.
Ouch, this cryptic clapbackfrom the beyond didn't just make
(06:11):
waves.
It set off a pop culturetsunami Splashed across the
newspapers.
It was the red flag youcouldn't unsee.
Suddenly, everyone's antennaswere up, buzzing with the
prospect that maybe, just maybe,the Crawford household wasn't
the picture perfect portrait.
It was painted to be More thanjust family drama.
(06:34):
It was the prelude to a fullblown overhaul in how the world
viewed Joan Crawford.
Fast forward about a year and ahalf to November 1978,.
Christina Crawford responds,dropping a bombshell memoir,
mommy Dearest.
That blasts holes into the JoanCrawford mystique.
(06:54):
This book wasn't just spillingtea, it was dumping a proverbial
kettle like gasoline on analready raging fire.
The book lashed out withaccusations of physical and
mental abuse, tales of erraticand sometimes downright
terrifying behavior, like nightraids for impromptu house
(07:15):
cleaning, forcing Christina toeat rare meat, like she's
auditioning for survivor, severespankings and, of course, a
legendary hatred for wirehangers.
Yeah, I bet you've probablyheard about that one.
This book didn't just chip awayat the polished exterior of
Joan Crawford, the beloved moviestar.
It obliterated it, mommyDearest, straddled the line
(07:39):
between a tell-all and acalculated strike.
With the precision of abiographer and the flair of a
novelist, christina crafted anarrative that was part
indictment, part catharsis.
It was, in essence, a form ofliterary matricide, laying bare
the wounds of the past with anundercurrent of dark, vengeful
(08:00):
triumph.
Christina, through her words,was not just seeking closure,
she was scripting her own act ofpoetic justice.
When Christina Crawford'sexplosive allegations hit the
public, the fallout wasimmediate and widespread,
igniting a firestorm ofcontroversy.
Joan Crawford's loyal fans, hercircle of friends and even
(08:25):
those who might not have alwaysseen eye to eye with her,
rallied in her defense.
The Joan depicted by Christinawas unrecognizable to them.
Kathy, one of the twins, wentso far as to dismiss the memoir
as the ramblings of a disturbedmind.
The critical reception didn'toffer much reprieve either.
(08:45):
Reviewers were quick tocriticize the book for its
perceived vengefulness,characterizing it as a catalog
of grievances rather than aninsightful exploration into Joan
Crawford's complex personality.
The memoir was often contrastedwith a contemporaneous biography
of Joan by the esteemed filmcritic Bob Thomas, which, while
(09:08):
not shying away from Crawford'scontentious parenting, attempted
to place her actions within thebroader narrative of her own
challenging life experiences.
One critic highlighted thisdistinction sharply, noting that
Thomas managed to capture in afew lines what Christina seemed
to miss entirely in her book.
Joan Crawford, it can bepresumed, held a deep affection
(09:32):
for her children on some level.
Yet it's plausible thatunresolved traumas from her own
childhood led her to adoptstrict and at times unreasonable
disciplinary measures.
Anyone who's experiencedsomething similar can tell you
the cycle of abuse is oftendifficult to break, with the
(09:53):
abused too often becomingabusers themselves despite their
best intentions.
To the contrary, thisacknowledgement in no way
lessens the validity ofChristina's experiences.
Understanding the root causesof someone's actions doesn't
take away the hurt those actionshave caused.
Writing a book like MommyDearest is an act of immense
(10:16):
courage.
It presented an opportunity toshare a painful personal truth
with a world that held a verydifferent viewpoint of its
leading lady.
Perhaps it also offered achance to find some form of
understanding or healing, bothon a personal and public level.
Despite the nuances and pain,the public's reaction to the
(10:37):
memoir centered more on thesensational aspects of
Christina's revelations.
The narrative of her reclaimingher voice and exposing her
truth was compelling, drivingMommy Dearest to immense
popularity.
Despite the critics, it soaredto the top of the New York Times
bestseller list, where itremained for 42 weeks.
(10:58):
Quickly becoming a culturalphenomenon.
Mommy Dearest carved such aprofound impact on popular
culture that it's often hailedas the catalyst for the then
burgeoning genre of parent-basedexploitation memoirs that
followed.
While it wasn't the inauguralwork of its kind, brooke
(11:19):
Hayward's Haywire proceeded itby a year, offering an intimate
glimpse into her challenginglife with parents Leland Hayward
and Margaret Sullivan.
But it was Mommy Dearest thattruly captured the public's
imagination and spurred a waveof similar memoirs.
Christina Crawford'sunflinching portrayal of her
life under Joan Crawford's roofdid more than just enthrall
(11:42):
readers.
It opened the floodgates forothers to share their own
stories of familial strife,setting a precedent for raw,
revealing narratives that delveinto the complexities of
parent-child relationships,especially under the glare of
the public eye.
The remarkable success of MommyDearest naturally caught
(12:02):
Hollywood's eye Drawing theattention of Franck Yblons, a
notable figure whose tenure aspresident of Paramount from 1971
to 1975, was marked by therelease of cinematic giants like
the Godfather, parts 1 and 2,chinatown Love Story and a
CERBICO.
In his last years at Paramountalone, the studio's films
(12:27):
garnered an impressive 39 Oscarnominations.
Following a reshuffle atParamount, yblons transitioned
to independent production in1975, on the hunt for his next
major project.
It was then that Mommy Dearestpiqued his interest.
Demonstrating his keen eye forpotential, yblons secured the
(12:50):
screenwrites for $500,000 evenbefore the memoir hit the
shelves.
In defending ChristinaCrawford's decision to share her
harrowing experiences, yblonsremarked in an interview.
Christina chose to tell thepainful truth about her
relationship with her mother andinstead of being applauded for
her courage by the critics,she's being condemned.
(13:13):
The main reason I want to makeMommy Dearest is because of the
issue of child abuse, an issuewhich has been kept under cover
for too many years.
In 1978, the cinematic journeyof Mommy Dearest began, with
Franck Yblons at the helm of itsdevelopment.
He swiftly initiateddiscussions with the renowned
(13:35):
Italian director, francoZephyrelli, considering him to
steer the film's creativedirection.
Zephyrelli, having previouslydirected Fae Dunaway in the
Champ, brought a unique visionto the table, one that promised
to distinguish Mommy Dearestsignificantly from the film it
eventually became.
Zephyrelli's approach aimed todelve deep into the
(13:58):
psychological aspects of thenarrative, especially
highlighting the challengeswomen face in the film industry.
Through a more nuancedexploration of Joan's
perspective, he articulated adesire to illustrate the
metamorphosis of women intofigures of immense strength,
sometimes at the cost of theirhumanity.
To thrive in a male-dominatedenvironment Quote To survive a
(14:23):
woman must become tough, oftenbecome a monster.
I've seen it happen to twowomen to whom I served as friend
, confidante and businessassociate.
He noted referencing hisrelationships with Maria Magnani
and Maria Callas.
This comment hints atZephyrelli's broader, albeit
somewhat generalized, view ofwomen's struggles within the
(14:46):
industry, suggesting his versionof Mommy Dearest might have
offered a more layered portrayalof its characters and their
motivations, diverging from thenarrower focus.
The final film presented Toembody Joan Crawford on screen.
Frank Giblon's initiateddiscussions with Anne Bancroft,
(15:06):
who resonated with FrancoZephyrelli's vision for the film
.
Bancroft, however, was hesitantto fully commit to the project,
advocating for script revisionsthat would offer a more
sympathetic or complex depictionof the legendary actress.
The screenplay, it turned out,was a considerable obstacle for
Giblon's, challenging him atevery turn.
(15:29):
The rotating door of writersinvolved in the project is, in
hindsight, less surprising thanit might initially seem.
Initially, christina Crawfordherself was brought on board to
pen the screenplay, butdissatisfaction with her draft
led Giblon's to seek out RobertGetchel as a replacement.
(15:49):
Following Getchel, jamesKirkwood, co-author of A Chorus
Line, took a stab at the scriptwithout success.
And then, in November 1979, asteamed writer, william Goldman,
produced a draft.
By April 1980, Tracy Hochnerwas brought in to work on the
screenplay.
(16:10):
Hochner's draft is accessibleonline, allowing some insights
into his personal vision for thefilm, while the precise
sequence of who wrote whichversion of the script and when
remains unclear.
Hochner's version appears toalign with Zephyr Ely and
Bancroft's ambitions to exploremore thoroughly Joan's
(16:31):
professional life andcomplexities therein.
The screenplay opens with ayoung Joan Crawford in Elby
Mayer's office at MGM, where, inthe first few moments, her
breasts are fondled withoutpermission by Mayer himself.
Mayer then unilaterally decidesher screen name, stripping her
of her autonomy from the verybeginning, as Anne Bancroft took
(16:54):
her time deciding on theproject, wanting more depth and
complexity for Joan's character,franco Zephyr Ely eventually
moved on to other endeavors.
Frankie Blonds then approachedanother Frank indie director,
frank Perry, known for hissuccess with films like David
and Lisa and Diary of a MadHousewife, both penned by his
(17:17):
then ex-wife, alan or Perry.
Frank Perry's vision for MommyDearest veered towards a direct
adaptation of the book, aimingto translate Christina
Crawford's harrowing experiencesinto a cinematic format that
was both truthful to the sourcematerial and engaging for
audiences.
Quote my job was to turn thewhole thing into a movie that
(17:40):
was not only faithful to thebook we bought but also an
entertainment.
Perry reflected he wascaptivated by the book from the
moment he read it.
Seeing Christina as a deeplywounded individual, perry was
convinced of the book'sauthenticity, committing to a
portrayal that honoredChristina's narrative.
While navigating the challengeof crafting a film that could
(18:01):
entertain audiences, with AnneBancroft's hesitance becoming
increasingly apparent, sheeventually opted for a role in
the Elephant man.
Instead, frank Yblons and FrankPerry began scouting for other
potential Jones.
Among the possibilitiesconsidered was Sigourney Weaver.
However, discussion soon veeredtowards Faye Dunaway, an
(18:25):
actress Joan Crawford herselfhad once praised.
Crawford had identified Dunawayas the only up-and-coming
actress with the potential to bea true star, a prophecy that
seemed to be aligning withDunaway's trajectory post her
Oscar win for network.
Following her acclaimedperformance in network, dunaway
took on a variety of roles that,well commercially successful,
(18:49):
didn't fare as well critically.
This included theunderappreciated eyes of Laura
Mars and the disappearance ofAmy, where she shared the screen
with Bet Davis.
Apparently, bet, however,wasn't a fan.
Faye Dunaway was on the lookoutfor a role that could
(19:15):
potentially earn her a secondOscar, a prestigious project
that would reaffirm her statusas a leading lady in Hollywood.
The opportunity to portray JoanCrawford in Mommy Dearest, a
film based on a bestselling bookabout one of the biggest movie
stars ever, seemed too good topass up.
Despite the cautionary voicessuggesting that playing Crawford
(19:37):
might not sit well with anindustry keen on protecting its
legends, dunaway was undeterred.
Her commitment to landing therole was nothing short of
extraordinary.
As reported by Michael Moustowin the Village Voice, dunaway
didn't just express interest inthe part, she embodied it.
She meticulously styled herselfafter Joan Crawford and made a
(20:01):
dramatic appearance at the homeof producer Frankie Blonds.
The effect was stunning.
The Blonds was taken aback,confronted with the eerie
semblance of Crawford brought tolife by Dunaway's
transformation.
This moment may well havesealed the deal, proving beyond
a doubt that Dunaway wasn't justsuitable for the role she was
(20:23):
inspired.
Dunaway and Crawford, though nottypically considered similar in
their choice of roles or screenpersonas, shared an undeniable
connection through theircommitment to their craft.
Joan Crawford's on-screenpersona was as fluid as the eras
she traversed, skillfullyadapting to the evolving
(20:43):
landscapes of time and fashion.
She famously encapsulated herown chameleon-like nature by
saying quote I was a flapper inthe Age of Flappers.
I became a sophisticated ladyin the Age of Sophistication.
In contrast, faye Dunaway'scinematic identity was often
grounded in the portrayal ofdangerous and glamorous women,
(21:05):
echoing the mystique of iconslike Marlene Dietrich or Greta
Garbo, rather than Crawford'svaried repertoire.
Yet despite their differingon-screen archetypes, the
real-life similarities betweenCrawford and Dunaway made the
latter's casting in MommyDearest feel serendipitous.
Beyond their professionalachievements, it was their
(21:27):
shared personal narratives thatforged a deeper connection.
Dunaway, like Crawford, wasdriven by a formidable ambition.
Their backgrounds werestrikingly similar Both emerged
from humble beginnings andfractured families, fostering an
early independence andresilience that would become the
bedrock of their careers.
Speaker 4 (21:48):
Do you feel in any way a kinship to Joan Crawford?
Is she anything like you are?
Speaker 1 (21:56):
I feel an enormous kinship, enormous.
You have to admire women withthat sort of determination and
that sort of desire.
Then what you look at is whathappened to her as a result of
it, and how then did her life goon, and to what degree was she
(22:17):
victimized by her own passions,by her own?
What is a wonderful quality ofhunger and a desire that
everything should be wonderfuland perfect?
When, then, did it turn?
Speaker 2 (22:28):
if it is not perfect and won't do, Faye Dunaway's
connection with Joan Crawford'sambition and intensity was so
profound that her reflections onCrawford might well be seen as
an introspective commentary onher own character.
Their shared drive imbued themwith a distinctive energy and a
formidable presence encapsulatedin their self-assured gazes, a
(22:52):
powerful tool in Dunaway'sarsenal as she sought to bring
Crawford to life on the silverscreen.
Similar to Anne Baincroft'searlier intentions, dunaway
aimed for a portrayal ofCrawford that veered away from
the vilification seen in MommyDearest, the book.
Her identification withCrawford extended beyond their
parallel ambitions to a sharedsense of injustice over the
(23:15):
sensationalized narratives thathad come to define Crawford's
legacy.
Speaking to the New York Times,dunaway expressed her
frustration with the quotescandal books about Crawford,
emphasizing her desire to reveala truer, more nuanced story
through the film Quote.
That was one of the mainreasons I wanted to do this
(23:36):
movie.
They are by far not the realstory, dunaway asserted,
challenging the portrayal ofCrawford as a mere tyrant Quote.
She achieved and while monstersdo achieve great deeds, she
wasn't one.
Dunaway saw Crawford not as amonster but as a warrior, a
perspective that resonated withher own experiences and view of
(23:59):
the world.
By the time Faye Dunaway joinedthe project, the screenplay for
Mommy Dearest was far fromcomplete.
The production would see astaggering 18 revised shooting
scripts before it was all saidand done.
When Dunaway was on board,however, frank Yblons and Frank
Perry decamped to Palm Springswhere they hammered out a new
(24:22):
version of the script in just 12days.
Filming kicked off in early1981, and by May of that year
Roger Ebert found himself on theMommy Dearest set witnessing
the intricate dance of artimitating life.
He mused on the peculiar ironyat play.
Joan Crawford had devoted herlife to crafting a public
(24:44):
persona, only for this film topeel back the layers, exposing
the very secrets she had soughtto conceal.
The decision to shoot on closedsets at Paramount hinted at the
movie's controversial contentand its lead actress' complex
reputation.
Indeed, faye Dunaway was knownfor her intensity on set, a
(25:06):
trait that, during thisproduction, led to significant
tensions, including chronictardiness, so disruptive that
studio executives contemplatedreplacing her.
The filming process was notwithout its physical challenges,
particularly a scene so intensethat co-star Diana Scarwin's
safety was jeopardized.
(25:27):
Moreover, ratania Alda, in herTell All book, the Mommy Dearest
Diary, carol Ann tells All,recounts a confrontation between
Dunaway and costume directorIrene Sheriff that ended with
Sheriff in tears.
In an interview, frank Perrycandidly shared the complexities
(25:48):
of navigating behind-the-scenesdynamics during the production
of Mommy Dearest, highlightingchallenges primarily posed by
two executive producers DavidCoontz, christina Crawford's
husband, and Terry O'Neill, fayeDunaway's partner at the time,
whom she later married.
Coontz advocated for aportrayal of Joan Crawford as
(26:08):
exceedingly cruel and abusive,pushing for extreme displays of
violence in every scene.
In contrast, o'neill insistedon softer representations,
particularly concerning physicalinteractions with the children,
to the point where Dunawaywould refuse to perform scenes
deemed too harsh.
Perry's approach to theseconflicting demands was to
(26:32):
assert his directorial vision,albeit in a manner that, by his
own admission, involved a directdismissal of their concerns.
Quote Gentlemen, get the hellout of my way.
I've got a movie to make andI've got to make it the way I
see it.
While Perry framed this as atactful handling of the
situation, the ongoing rumors ofon-sent temper tantrums and
(26:55):
production delays suggest thefriction was far from smoothly
managed.
Faye Dunaway, in reflecting onher experience, acknowledged the
immense personal andprofessional challenge posed by
embodying Joan Crawford.
In her memoir, she expressedher deep commitment to her roles
.
Quote I'll go all the way withsomething because that's how I
(27:18):
work.
This method-acting approach,while often advantageous in
achieving authenticity arguablypushed her to the brink.
In the case of Mommy Dearest,the intense requirement to
channel Crawford's notorioushostility throughout a quote
relentlessly packed screenplaytook a toll, illustrating the
(27:39):
fine line Dunaway navigatedbetween dedication and the
potential for losing oneself ina role as complex and demanding
as Joan Crawford's.
Speaker 1 (27:49):
But it had an enormous amount of extremity to
it and where that is there arealways passions and enormous
feelings that are not manageablebecause they go out of control.
So all those things had to begone absolutely to the heart of
in order to make any sense outof what happened between the
mother and the daughter and whathappened to the mother from my
point of view on her own.
(28:09):
It took me two months and Isort of timed it to really start
to feel like myself again.
Speaker 2 (28:15):
The infamous wire hanger scene from Mommy Dearest
showcases not just the scene'sextreme nature but also the
physical and emotional toll ittook on Faye Dunaway.
Renowned for its intensity, thescene pushed Dunaway to her
limits, resulting in hercollapsing from exhaustion and
causing significant damage toher vocal cords, which
(28:36):
necessitated medicalintervention from a specialist
before she could resume filming.
This moment epitomizes theblend of dedication and risk
inherent in Dunaway's methodacting approach, underscoring
the fine line between compellingperformance and personal
well-being.
Despite the tumultuousatmosphere on set, dunaway,
(28:59):
Frank Yablans and Frank Perrymaintained a belief in the
film's potential to be an awardscontender.
They viewed Mommy Dearest as apowerful medium through which to
engage Americans in a seriousdialogue about the hidden
agonies of child abuse.
However, yablans' reflection onthe film's essence hinted at a
disconnect between intention andexecution.
(29:21):
Describing the film as amixture of quote glamour,
fantasy and tragedy, yablansinadvertently highlighted a
critical concern Can a film thataims to tackle the grave issue
of child abuse with the utmostseriousness afford to
simultaneously court the tonesof glamour and fantasy?
(29:44):
In the lead-up to the release ofMommy Dearest, paramount
Pictures undertook a strategicmarketing blitz.
The studio endorsed theorganization of Crawford movie
marathons, encouraged revivalhouses to showcase their films
and supported Crawford-themedfestivals on television stations
.
This concerted effort not onlyreignited interest in Crawford's
(30:06):
illustrious career, but alsoset the stage for introducing
Mommy Dearest to an audienceprimed for a deep dive into the
legend's more personal stories,particularly her stormy
relationship with her daughter.
Frank Yablans saw the essenceof the film's marketing appeal
encapsulated in its poster.
His strategy was to leveragethe iconic status of Joan
(30:29):
Crawford as played by FayeDunaway, highlighting the allure
and sophistication thatCrawford represented.
Quote I decided early on tosell the gimmick of Faye as Joan
because Joan was an elegantwoman, a star, a legend and the
illusion of perfection.
Yablans shared with the New YorkTimes.
(30:50):
He understood that the film'ssuccess hinged significantly on
the audience's reception ofDunaway's portrayal of Crawford,
acknowledging the pivotal rolethat Dunaway's performance would
play in the film's overallimpact.
Yablans' insight underscored acrucial point the portrayal of
such a complex, larger-than-lifefigure as Joan Crawford by
(31:13):
another celebrated actress wasmore than just casting.
It was the film's central draw.
The campaign's focus on theglamorous yet tumultuous
mother-daughter relationship,set against the backdrop of
classic Hollywood's allure, wasa calculated move.
It highlighted the dualchallenge Mommy Dearest faced
(31:34):
doing justice to the intricaciesof its subjects' lives, while
captivating an audience with thepromise of uncovering the
hidden truths behind a Hollywoodlegend's facade.
And well, oh boy.
Speaker 4 (31:48):
For one of the most entertaining movies of the year,
let's move on to one of theleast entertaining and most
painful movies of the year.
The film is Mommy Dearest,starring Faye Dunaway in an
unremittingly unpleasantportrait of movie star Joan
Crawford.
Speaker 2 (32:01):
Upon its release in September 1981, mommy Dearest
met with skepticism from criticswho largely disapproved of its
execution.
The critical consensussuggested that the film fell
short in offering a nuancedportrayal of Joan Crawford,
instead presenting a relentlesssequence of dramatic and
arguably exaggerated events,without sufficient context or
(32:24):
insight into Crawford'scharacter.
The film's failure to explorethe underlying reasons behind
Crawford's harsh treatment ofher daughter left audiences with
more questions than answers,missing an opportunity to delve
into the complexities of herpersonality and life choices.
Janet Maslin of the New YorkTimes critiqued the film for its
(32:45):
lack of depth in portrayingCrawford, arguing that while the
film didn't need to idealizeCrawford, it did need to provide
her with more dimensionality toachieve any narrative coherence
.
This sentiment echoed thebroader dissatisfaction with the
film's approach to storytelling, highlighting a missed
opportunity to explore the humanbehind the legend.
(33:07):
Even Christina Crawford, whosememoir served as the basis for
the film, expressed her disdainfor the final product.
Her disappointment was soprofound that she had attempted
to reacquire the rights to herbook upon reviewing other script
versions, signaling herdisapproval of the direction in
which her story was taken.
(33:28):
Then the film's reception tookan entirely unexpected turn,
(34:08):
although the filmmakers intendedto induce tears or gasps at the
film's ostensibly harrowingdepiction of child abuse.
Mommy Dearest was playing,apparently to ruckus laughter
across the country.
Nobody was taking their veryserious movie seriously.
It turned out that laughing outloud to the likes of was
(34:43):
exactly what the audience wanted.
Mommy Dearest made a splash atits premiere in New York City in
September 1981, raking in over$750,000 and setting a record
for the largest Septemberopening in New York cinematic
history, according to Paramount.
This initial success hinted atthe film's potential to
(35:04):
captivate audiences, despite thecritiques it faced.
As the studio recognized thefilm's unique appeal, it shifted
its marketing strategy fromshowcasing a portrait of Faye
Dunnway as Joan Crawford tohighlighting the now infamous
wire hangers branding the filmwith the tagline the Biggest
(35:25):
Mother of them All.
This pivot in advertisingstruck a nerve with Frankie
Blonds, who found the newcampaign distasteful and
offensive, leading him to file a$10 million lawsuit against
Paramount.
However, his legal action wasultimately dismissed in court.
Over the years, mommy Dearesthas transcended its initial
(35:48):
reception and the filmmaker'soriginal intentions, carving out
a distinct niche in pop culture.
The film's enduring fascinationlies beyond the realms of
conventional cinematic critiqueor its adherence to the factual
accuracy of Christina Crawford'smemoir, its appeal actually
taps into something far moreelusive a combination of camp
(36:13):
melodrama and the sheer force ofits performances, especially
Dunnway's portrayal of JoanCrawford, which has become
iconic in its own right.
In this light, evaluating MommyDearest and Dunnway's
performance by traditionalcritical standards may miss the
mark.
The film's legacy is not somuch about its quality in a
(36:35):
classical sense, but about itsability to engage, provoke and
entertain audiences inunexpected ways.
Embracing Mommy Dearest forwhat it truly is, the quote
citizen fucking cane of camp endquote opens up a unique lens
through which to appreciate itsplace in cinematic history.
(36:56):
By guiding our explorationthrough Susan Sontag's notes on
camp, we can dissect themagnetic allure of this film,
unraveling the layers that makeit a fascinating spectacle for
audiences.
Camp taste revels in theessence of instant character, an
(37:18):
attribute Mommy Dearestembodies with its
larger-than-life portrayal ofJoan Crawford by Faye Dunnway.
The film sidesteps the nuanceddevelopment of character in
favor of presenting Crawford ina state of perpetual intensity a
quote continual incandescence.
This approach aligns withSontag's observations that camp
(37:40):
appreciates character not as ajourney but as a fixed, vibrant
spectacle.
Mommy Dearest takes itselfseriously, from its dramatic
nature and narrative to itsearnest performances.
Yet it is precisely thisseriousness that veers into the
realm of camp.
The film's earnestness,combined with its excessive
(38:04):
elements, renders it anexperience that teeters on the
boundary between the serious andthe absurd.
Camp, in essence, transformsthe solemn into the comically
trivial, imbuing Mommy Dearestwith a distinctive charm that
captivates and amuses.
Sontag describes camp as aspecific sensibility toward
(38:27):
style, a style characterized byan affinity for the exaggerated,
the quote off and thetransformation of the ordinary
into the extraordinary.
Camp perceives everythingthrough quotation marks,
suggesting a detachment fromreality that invites viewers to
see beyond the literal.
(38:47):
It's not merely a lamp, forexample, in a camp perspective,
but quote a lamp, not just awoman, but quote a woman.
This mode of perceptionunderscores the concept of
existence as performance, whereevery element in character in
Mommy Dearest is not justplaying a role but reveling in
(39:07):
the artifice of that role.
Frankie Blonde's intuition aboutthe pivotal role Faye Dunnway's
portrayal of Joan Crawfordwould play in Mommy Dearest was
remarkably prescient.
Her performance, brimming withexcess and theatricality, has
been a focal point of the film'sdiscussion.
John Waters famously dubbed itquote the first drag queen role
(39:30):
played by a woman a testament toits over-the-top nature which,
while challenging to takeentirely seriously, is
undeniably mesmerizing.
Dunnway's approach to Crawfordamplifies every emotion and
gesture to such an extent thatit veers away from providing a
realistic portrayal of theactress.
(39:51):
Instead, she crafts ahyperbolic, stylized quote Joan,
a character that may sharelittle with the real Crawford's
demeanor beyond her iconicmakeup.
This exaggerated depiction,however, has its own artistic
merit, inviting viewers into agrandiose interpretation of
(40:12):
Crawford's persona.
Indeed, some critics foundvalue in Dunnway's extravagant
performance.
Pauline Cale, in her review forthe New Yorker, lauded the
operatic quality of Dunnway'sportrayal, likening it to quote
hard-nosed Crawford drag.
Cale highlighted the wayDunnway embraced the aesthetic
(40:33):
of Crawford's vehement rejectionof wire hangers, drawing
parallels to the gothicflamboyance of whatever happened
to Baby Jane.
Faze Betrayal and Mommy Dearestearned her a truly unique place
in cinematic history,simultaneously securing her a
runner-up position for the NewYork Critics Circle Best Actress
(40:54):
Award and the Razzie for WorstActress in the same year.
Truly a testament to thepolarizing reception of her
performance.
The film itself wascontroversial enough to garner
eight Razzie's Truly dividedcritical response.
Dunnway has candidly expressedher complex feelings about the
(41:16):
role, revealing a mixture ofnegativity and recognition of
her own efforts.
Her main critique lies in thefilm's leading towards camp,
which she views through a lensof traditional criticism,
finding it derogatory and amisrepresentation of the story's
core human drama, quote.
It became camp.
(41:36):
It wasn't brought into a vision, she has said, lamenting the
shift away from exploring thenuanced relationship between
Joan Crawford and her daughterto a portrayal she deems almost
caricatured.
In her memoir, dunnway reflectson the film's campiness as an
exaggeration that lost sight ofthe story's heart, leaving the
(41:57):
production feeling quote out ofkilter and quote off-center.
Despite these challenges, sheacknowledges the strength of her
performance, marred only by theabsence of quote, the
modulation of a good director.
Dunnway emphasizes the actor'srole in delivering their best
(42:17):
regardless of the film'sdirection, while also noting
that the ultimate tone of amovie lies in the hands of its
director and producers.
If the intention was to make aserious film about stardom and
child abuse which, as we'velearned from Dunaway, yablons'
and Perry's quotes, it was thendirectorial intervention could
(42:38):
have helped tone down many ofthe film's campiest moments.
Even Joan Crawford herself knewthat.
Speaker 3 (42:44):
Well, wolf, I don't think anyone starts out thinking
they're going to make a badpicture.
They're hoping that thedirector they choose, the
producer, the writers andeveryone who works on the set
with them will offer a bit ofadvice and help to overcome the
weaknesses and there areweaknesses in every script, in
(43:06):
every story, like your child,but child has weaknesses.
Speaker 2 (43:11):
Faye Dunaway's reluctance to fully embrace her
role in Mommy Dearest and itssubsequent camp status reflects
a complex relationship betweenan artist and their work,
especially when public receptiondiverges sharply from personal
and professional intentions.
Despite the roles, polarizingnature and the film's
recognition and reception,dunaway has to date stopped
(43:34):
short of acknowledging her partin steering the film toward its
over-the-edge camp acclaim.
There's a certain melancholy inDunaway's open regret for her
involvement in Mommy Dearest.
The performance, regardless ofits intent, has found a devoted
audience that cherishes it forits extravagant expressiveness
and the sheer entertainment itprovides.
(43:54):
One can imagine an alternatereality where Dunaway might
celebrate this unexpected legacywith humor and grace, perhaps
even participating in the film'scelebration alongside its fans,
who would undoubtedly relishthe opportunity to recite lines
with her at special screenings.
Christina Crawford herself hascome to terms with the film's
(44:16):
unique place in the culturallexicon, acknowledging its camp
classic status and the humor ithas inspired among audiences.
In an interview with Salon, sheexpressed a recognition of the
film's impact, preferring toengage with it through a sense
of humor rather than resistance.
Quote I've certainly heard thejokes and seen the cards.
(44:36):
This is a way of saying that Iunderstand Far better than my
sense of humor should also beengaged.
She stated Faye Dunaway'sapproach to Mommy Dearest and
her subsequent discomfort withits reception is deeply rooted
in her artistic and ethicalconvictions.
Having set out with theintention to humanize Joan
(44:56):
Crawford, a figure, dunaway felta profound connection with Her.
Commitment to the role wasfueled by a desire to reveal the
complexities andvulnerabilities of Crawford's
character.
As a dedicated method actor,dunaway sought authenticity and
truth in her portrayal, aimingto offer a nuanced understanding
of Crawford beyond thescandalous headlines.
(45:19):
The outcome, however, veeredsharply from her aspirations.
The film's portrayal andDunaway's performance
inadvertently amplified thevilification of Joan Crawford,
contributing to a legacy thatDunaway had hoped to
counterbalance.
The realization that herportrayal not only failed to
(45:39):
humanize Crawford but alsobecame a subject of nationwide
parody for its perceivedexaggeration was understandably
a difficult pill to swallow.
This dissonance betweenDunaway's artistic objectives
and the public's receptionlikely felt like a betrayal of
her principles and efforts.
Describing the situation asakin to a quote murder, suicide
(46:02):
captures the profound sense ofentanglement and mutual
destruction between Dunaway'sportrayal and Crawford's
posthumous reputation.
Mommy Dearest not only alteredpublic perceptions of Faye
Dunaway but also had tangiblerepercussions on her career
trajectory.
The film pushed Dunaway'sestablished screen persona of
(46:24):
the glamorous and dangerouswoman to such an extent that it
began to detract from thegravitas and complexity she had
previously brought to her roles.
This shift posed a significantchallenge to the professional
identity she had meticulouslycultivated over the years.
Dunaway herself hasacknowledged the impact of Mommy
Dearest on her career, notingquote I never compromised the
(46:48):
acting in playing Joan, but Ithink the film ultimately did
compromise my career.
This sentiment was echoed inthe media, with Diane Hatheman
in the LA Times suggesting in1994 that Dunaway was quote
unofficially relieved of hermovie stardom crown in the
aftermath of the 1980s.
David Denby's assessment in theNew Yorker was even more
(47:11):
forthright, stating quote MommyDearest finished her career as a
star.
The consequences of MommyDearest extended beyond critical
and public reception.
Dunaway's subsequent move tothe UK and her choice to take on
smaller, less prominent rolesreflect a strategic retreat from
the limelight and recalibrationof her career in response to
(47:31):
the film's fallout.
This period of laying lowcoincided with a challenging
time for actresses in Hollywood,particularly as Dunaway had
just turned 40, a notoriouslydifficult age for women in the
industry due to pervasive ageism.
Furthermore, her reputation forbeing challenging on set,
combined with what was perceivedas quote the worst performance
(47:55):
of her life occurred just as anew gender and her career was a
new type of career.
The performance of her lifeoccurred just as a new
generation of actresses likeMeryl Streep, glenn Close and
Jessica Lange were rising toprominence.
Speaker 4 (48:09):
But did you have a pass on a role that you regret
to bestave?
Why did I do that?
Speaker 1 (48:14):
Even then, wouldn't it be made by someone else?
Yeah, A few longings along theline.
The one I guess that peoplewould know most is Francis
Farmer which Jessica Langeplayed, but I didn't want to
play another crazy movie staryou just sent Mommy to her.
Is that right after?
Oh yeah, I don't get that.
Still trying to live down.
Speaker 2 (48:33):
Faye Dunnway's return to Hollywood was characterized
by a discernible shift in herchoice of roles and her approach
to her career.
In an effort to reclaim agencyover her professional path and
to diversify her portfolio,dunnway took the bold step of
buying and producing her ownprojects.
This included films like ColdSassy Tree and Masterclass, for
(48:56):
which she still holds the filmrights.
These endeavors reflect herdesire to explore a broader
range of narratives andcharacters, moving beyond the
confines of her previouslyidentified image.
In a notable departure from herestablished glamorous persona,
dunnway took on roles thatrequired her to de-glam
significantly.
(49:17):
Films such as Barfly and DonJuan de Marco saw her stepping
into a more raw and unvarnishedcharacter, a move that showcased
her versatility and commitmentto her craft.
These roles allowed Dunnway todemonstrate her range and depth
as an actress, challengingaudiences to see her in a new
(49:37):
light.
Dunnway's foray into comedymarked another significant pivot
in her career.
Despite being known for herintense and dramatic roles, she
embraced the comedic genre,including a stint in a
short-lived sitcom.
Although this venture intotelevision comedy might not have
achieved mainstream success, itis still available on YouTube
(50:01):
for viewers to appreciateDunnway's willingness to
experiment with different formsof expression and to not take
herself too seriously.
Speaker 1 (50:09):
Albert, if I had a dollar for each time you
threatened to kill yourself whenyou were late finishing a book,
I could buy enough coffee towake up Truman Capote and have
him write it.
Speaker 2 (50:21):
In the wake of Mommy Dearest Faye Dunnway faced a
unique dilemma.
The intensity and conviction ofher portrayal of Joan Crawford
led to an unintended blurring ofthe lines between actress and
character in the public'sperception.
Initially, dunnway hademphasized the similarities
between herself and Crawford toconnect more deeply with the
(50:41):
role, but the aftermath of thefilm compelled her to
recalibrate her public persona.
Dunnway's concerns about beingtypecast or mistaken for the
traits she displayed as Crawfordwere not unfounded.
Her performance was soconvincing that it sparked
conversations and speculationsabout how closely Dunnway's own
personality mirrored that of theformidable Joan Crawford.
(51:03):
This association was furthercomplicated by Dunnway's
reluctance to engage with themedia.
Her infrequent, in-frequentindifference in the film's
context was a infrequent.
Interview's left a void thatwas filled with conjecture,
reinforcing the notion thatDunnway herself might possess
the same quote, icy, remote,manipulative and even dangerous
(51:26):
qualities she so adeptlyportrayed on screen.
Speaker 1 (51:30):
I might take Crawford back, but I really wouldn't
because I did like her so much.
The only reason is because shewas very larger than life and I
wouldn't.
I don't want to be that myself,and there's an inevitable
tendency of people who both workin the industry and the
(51:53):
audience to associate, to thinkyou're like the parts you play.
There wasn't a lot of chance inthe film for the softness or
for the light side of me, theintelligent side of me, the
gentle side of me, the generousside of me.
But I liked her the leastbecause I felt uncomfortable
being identified with her.
(52:14):
I felt uncomfortable with heras a part of my persona, which
of course, she became just tosome degree.
Speaker 2 (52:21):
And unfortunately it's true.
The intertwining legacies ofFaye Dunnway and Joan Crawford
find a fascinating illustrationin Alyssa Edwards' performance
on Snatch Game of RuPaul's DragRace.
This instance exemplifies howDunnway's portrayal of Crawford
in Mommy Dearest has become atouchstone for both figures,
(52:43):
merging their personas into asingular cultural icon that
transcends each of theirindividual identities.
Edwards' portrayal captures theiconic visual trademarks
associated with Crawford theexaggerated lips and eyes
alongside the sleekarchitectural hairstyle, paying
homage to Crawford's enduringinfluence on glamour and style.
(53:05):
Yet the dialogue Edwardschooses to embody doesn't draw
from Crawford's illustriousfilmography, such as Mildred
Pierce or whatever happened toBaby Jane.
Instead, it pulls directly fromMommy Dearest, specifically
echoing Dunnway's memorablelines from the film Ladies and
(53:26):
gentlemen, the legendary JoanCrawford how are the kids, joan?
Speaker 1 (53:31):
I'm deliberately trying to embarrass me in
Fonety's report.
Oh, I've thought words monstersfor years in Hollywood.
Yes, I know.
Speaker 2 (53:39):
Barbara, please.
Speaker 1 (53:46):
Don't fuck with me, fellas.
Speaker 2 (53:51):
This choice highlights a fascinating layer
of performance.
Alyssa is channeling Crawfordnot through the lens of her own
storied career, but throughDunnway's interpretation of her
in a very specific role.
This meta performance, whereAlyssa enacts a drag version of
Faye Dunnway's own dramaticportrayal of Joan Crawford,
(54:14):
underscores the complex ways inwhich Crawford and Dunnway's
images have melded in the publicconsciousness.
Dunnway's Crawford is notmerely an act of mimicry, but
has become an indelible part ofhow Crawford is remembered and
celebrated, particularly withinthe context of camp and drag
culture.
The lines between actress andcharacter blur, creating a
(54:37):
hybrid identity that speaks tothe power of performance, the
durability of cinematic legacyand the unique ways in which art
imitates life and vice versa.
While Faye Denoway's concernsabout Joan Crawford merging with
her own persona are valid, thestark reality remains that it
was Crawford's name, notDenoway's, that bore the brunt
(55:00):
of the mommy dearest legacy.
For Crawford, the portrayal inmommy dearest wasn't just a
cinematic role but a publicairing of her personal life,
transforming her legacy inprofound and complex ways.
Prior to the film's release,joan Crawford's reputation was
already a tapestry of Hollywoodglamour and personal
(55:23):
controversies, includinghigh-profile feuds, multiple
divorces and her unwaveringloyalty to Pepsi, a company she
had become associated withthrough her marriage to Alfred
Steele, a Pepsi executive.
Her later film choices, oftencriticized as exploitative
attempts to maintain relevance,also contributed to a mixed
(55:45):
public image.
Yet mommy dearest crystallizedand intensified public
perception of Crawford in waysshe couldn't have anticipated or
countered.
In the aftermath of the film,crawford's persona was distilled
into a series of pejorativelabels that often veered into
ableism and misogyny.
Terms like quote, dictatorial,harpy, ugly, old witch and
(56:10):
various iterations of monsterbecame shorthand for Crawford,
overshadowing heraccomplishments and complexity
as an actress and a person.
This reductive portrayalcontributed to Crawford becoming
synonymous with the archetypeof quote bad Hollywood parent, a
reputation that has provedsticky and enduring.
To me, labels like monsterdon't do very much to understand
(56:35):
anything about abuse or how itperpetuates On this episode.
We've talked a lot about howcunningly Joan Crawford
navigated her career and managedto outlast some of her peers
with her extraordinary will tosurvive.
But the battles she waged toescape the abject poverty of her
childhood and to achieve whatshe did professionally came with
(56:57):
sacrifices and consequences.
In competent hands, her storycould be a heartbreaking
faustian drama that would exposea terribly flawed and scarred
but resilient and intuitivehuman being.
But Mommy Dearest, isn't that?
But I'd wager it's what theaverage person knows about Joan
Crawford today, if they knowanything at all.
(57:19):
Still, I think no understandingof the cultural influence of
this film would be completewithout taking a look at the
communities who have embraced itthe most.
Joan Crawford's connection tothe LGBTQ plus community,
particularly gay men, has longbeen part of her legacy, a
reputation that she herselfrecognized and appreciated.
(57:41):
Her appearance at the LegendaryLadies of the Screen event in
1973 at Town Hall in New YorkCity highlighted this connection
.
Noting the predominantlyhomosexual composition of her
audience, crawford expressed heraffinity and camaraderie with
the LGBT community, even if shecouldn't fully articulate the
reasons behind their mutualaffection.
(58:02):
The release of Mommy Dearest in1981 marked a pivotal moment in
the relationship betweenCrawford's legacy and her gay
fans.
The film, with its campydelivery and exaggerated
emotional scenes, naturally lentitself to becoming a cultural
artifact within drag culture andbeyond.
The depiction of Crawford andMommy Dearest became a source of
(58:24):
inspiration for performancesthat celebrated and critiqued
the film's portrayal of her.
Daniel Harris' account of NewYork City drag queen's dressing
as Joan Crawford and playfullyenacting scenes from the film
captures the creative ways inwhich the queer community
embraced and transformed MommyDearest into a cultural event.
(58:45):
Paul Festa's reflections forSalon on the film's appeal to
gay audiences further illuminatethe unique ways in which Mommy
Dearest resonates with the queerculture.
He suggests that the filmcreates an alternative moral
universe, one that invitesviewers to engage with its drama
through a lens of campsensibility and humor.
(59:05):
This collective experience ofwatching Mommy Dearest,
particularly amongst gay men, islikened to an energetic and
jubilant gathering where thelines between antagonists and
protagonists blur amid sharedlaughter and camaraderie.
I want to dive into a theory Ihave about why gay men are
(59:27):
particularly drawn to iconicfemale stars, beyond just the
likes of Myrna Loy or CarolLombard.
It's about the specialconnection to the likes of Joan
Crawford, bette Davis, lizaMinnelli, judy Garland, marilyn
Monroe, and the list goes on.
Here's my take.
Gay men in many ways live asthe other in society, living a
(59:53):
world where they're often on theperiphery, in a patriarchal
society.
Women share this experience ofbeing the quote other.
So there's this naturalaffinity, a sense of kinship.
And when these women alsoembody extraordinary talent,
beauty, vulnerability or allure,they become even more relatable
(01:00:14):
to someone accustomed to livingoutside the norm, like Natalie
Wood, for example, a story we'llcover in depth on this podcast
very shortly.
She was beautiful, sexy,vulnerable and immensely
talented.
Joan Crawford too, with hercommanding presence and
undeniable talent, thoughdifferent from the likes of Uta
(01:00:36):
Hagen, bette Davis or MerylStreep, captured hearts in her
own right.
So why does this matter?
Well, for gay audiences,there's a deep connection to
these women who, like them,stand out from the mainstream.
But there's this interestingcultural shift in the 1960s,
epitomized by whatever happenedto Baby Jane.
(01:00:58):
This film, showcasing aradically different Joan
Crawford, mirrored largersocietal changes and perhaps
even the gay community's ownreflections on aging and
relevance.
It's a complex dance ofidentity, representation and the
passage of time.
There's this oscillationbetween parody and profound love
(01:01:21):
for these iconic figures,revealing a rich tapestry of
admiration, identification andreflection.
I've always had a soft spot forJoan Crawford.
To me, she stands alongsideJudy Garland, marilyn Monroe and
Elvis Presley as one of thetragic figures of American
entertainment.
Unlike them, her strugglesweren't played out in the
(01:01:45):
tabloids due to public drugaddiction.
Crawford's battles were foughtbehind closed doors, making her
story all the more intriguingand perhaps misunderstood.
The TV series Feud capturedthis aspect of her life
beautifully in its final episode, reaching depths that mommy
dearest somehow missed.
(01:02:08):
Carl Jonas, who worked atColumbia Pictures in the 70s and
became close with Crawford,penned a revealing book about
her later years, and there'sthis poignant moment where
Crawford confesses, quote Irealized recently that I don't
really know exactly who I am.
I've been playing all theseroles and they're a part of who
(01:02:28):
I thought I was, but now Irealize I don't know who I am.
This revelation strikes a chordwith me.
It's a stark reminder of thecost of conforming to and
excelling within a system thatultimately might not care about
your well-being.
Joan Crawford's journey from anear-starving chorus girl to a
(01:02:51):
celebrated star under the brightlights of a major movie studio
must have been intoxicating towatch.
The glamour, the excitement.
It's understandable why she wasdrawn to it, why she embraced
it, but her reflection in herlater years offers a profound
insight into the personal costsof such a dazzling public life.
(01:03:13):
There's this universal truththere you can follow all the
rules, play the game toperfection and still find
yourself searching for your trueidentity amidst the roles
you've played.
Crawford's story, as tragic asit is compelling, is a painful
reminder of the delicate balancebetween our public personas and
(01:03:36):
our private truths.
And so we've traversed thisdelicate line between camp's
extravagant humour and itsprofound darkness that is echoed
in this film, a line that,oddly enough, feels like home to
so many of us.
Thinking about camp, especiallythrough the prism of mommy
(01:03:57):
dearest, I can't help but marvelat its unique power.
It's this incredible balancingact.
On one side, you've got thisover-the-top, almost absurd
humour that somehow makes thedark themes more approachable,
and on the other, there's thisundeniable darkness, a kind of
pain and struggle that's just asreal as anything.
(01:04:19):
Yet here we are somehow findingcomfort in both Reflecting on
the film's darker elements, itsportrayal of abuse, the quest
for identity.
It struck me that acknowledgingthese darker aspects of its
creation don't make us love thefilm any less.
If anything, it makes ourconnection to it deeper and more
(01:04:45):
meaningful.
Mommy dearest isn't just thecitizen fucking cane of camp for
its entertainment value alone.
It's a sounding board for thecomplexities of the human
experience, wrapped in theextravagance of camp, inviting
us to look closer to feel evenmore deeply.
This film, with all its flairand shadows, holds up a unique
(01:05:09):
lens to the world, a world wherethe line between tragedy and
comedy is thinner than we mightlike to think, and perhaps
that's what draws us in the wayit captures the absurdity and
the beauty of life all at thesame time.
So as I reflect on our journeythrough the legacy that Mommy
(01:05:30):
dearest has woven, I feel asense of gratitude For Joan, For
Faye, for the film itself.
They've given us somethingtruly special A space where we
can embrace the full spectrum ofour emotions in full, vibrant,
technical, where we can findlaughter in the darkness and
(01:05:52):
reflection in the excess.
And it reminds me of thestrange, wonderful comfort found
in the world of camp, whereevery extreme emotion and every
lavish gesture feels somehowlike it belongs to us all.
If you've somehow managed to navigate pop culture
without actually watching MommyDearest, I guarantee you're
still familiar with its mostfamous or infamous auditory
landmarks.
Speaker 1 (00:19):
Hell yeah, I'm not mad at you, I'm mad at the dirt.
Yes, tina, bring me the air.
No wire hangers.
What's wire hangers doing inthis closet when I told you?
No wire hangers ever, barbara,please, please, barbara, don't
(00:44):
fuck with me, fellas, this ain'tmy first time at the rodeo.
You're fakes.
Mommy, I need to go.
I'm ready to go bald to schooland look like a tramp.
Speaker 2 (00:55):
The film has earned a notorious reputation, not just
for its rebirth in recent yearsas a cult classic, but also for
the stormy history of itsproduction and the profound
impact it had on its leadinglady, Faye Dunaway.
Speaker 3 (01:09):
Do you like all the parts that you have to take in
your car?
Speaker 1 (01:13):
Do I like all of them ?
No, no, when the most difficultpart and I always feel the one
that was the biggest mistake ina certain way was Crawford.
Speaker 2 (01:23):
Today we're about to take a deep dive, no one asked
for, into the swirling vortex ofdrama, controversy and
unexpected legacy that surroundsMommy Dearest.
But we're not here to pickapart the truth versus the
fabrications of ChristinaCrawford's tales of abuse or
past judgment over JoanCrawford's memory.
(01:43):
My true interests are more onunraveling the mystery of how
this film, initially panned andvilified, managed to claw its
way into the cult classic Hallof Fame, changing the
reputations of both JoanCrawford and Faye Dunaway
forever.
I've scoured the tumultuousbehind-the-scenes stories,
(02:05):
zeroed in on what the filmmakerswere trying to achieve against
all odds and examined theaftermath of how this cinematic
venture has reshaped thenarratives around these iconic
women.
But of course, being completelyobjective about Mommy Dearest
is like trying to navigate aminefield blindfolded.
But I've done my homework,sidestepped the landmines of
(02:28):
speculation and done my best tokeep my own conjecture at bay.
Kind of Faye Dunaway herself hasechoed a sentiment that's hard
to ignore.
The real truth of what happenedbetween Joan and Christina, the
depth of their conflict, theirlove, their struggles, is locked
away, accessible now only toGod.
(02:51):
And, honestly, the truth ofwhat's verifiable from the
alleged abuse and what'spropagated over decades of
Hollywood lore is ultimately, atleast for our purposes not ours
to solve, but the impact, thelegacy and the cultural
fascination with Mommy Dearest,the film.
That's a journey worth taking.
(03:13):
This is Cinematic Secrets thedark side of the silver screen,
beyond the silver screen.
Go ahead, make my day.
A world of dreams and fantasiesunfolds.
Speaker 4 (03:29):
They call me.
Mr Tibbs, you can't handle thetruth.
Speaker 2 (03:37):
But within its shadows, a hidden realm of
intrigue and mystery awaits.
Frankly, my hair.
I don't give a damn.
Speaker 1 (03:45):
I could have been a contender.
Speaker 4 (03:49):
Of all the gin joints in all the towns in all the
world she walks into mine.
Speaker 2 (03:57):
Cinematic Secrets beckons you to journey into the
depths where untold storiesshape the films we cherish,
uncover the secrets thatpropelled these classics to
greatness, and unearth thedarker truths lurking beneath
the surface.
Beyond the glamour and allurelies a hidden narrative, a side
(04:18):
untold.
This time we lift the curtainand peer into the darkness that
resides in the very heart of thesilver screen.
Journey with us as we explorethe forbidden corners where
truth blends with fiction andlegends are born.
This is Cinematic Secrets thedark side of the silver screen.
Speaker 4 (04:58):
She was born Lucille LeSouir and she went to
Hollywood from Broadway musicals.
Her first movie was PrettyLadies in 1926, Zazu Pitz was
the star.
She left the world of glamourand dancing in 1945 when she
showed her dramatic abilities inthe movie Mildred Pierce.
She's been inactive in recentyears.
She had no history of seriousailments before her death of a
heart attack this morning.
(05:19):
Joan Crawford was 69 years old.
Speaker 2 (05:22):
Charlotte Chandler, joan's biographer, tells us
Crawford wasn't exactly swimmingin colossal levels of cash at
the curtain call of her life,but she was glocking in at about
2 million bucks.
Most of that loot was passed onto charities, but when it came
to her kids, things were alittle bit more complicated.
The twins, kathy and Cindy, gota decent slice of the Crawford
(05:46):
pie about 77 grand each.
Yet for Christina andChristopher, crawford's will
dropped a bombshell as word ofit reached the public.
It is my intention to make noprovision herein for my son
Christopher or my daughterChristina, for reasons which are
well known to them.
Ouch, this cryptic clapbackfrom the beyond didn't just make
(06:11):
waves.
It set off a pop culturetsunami Splashed across the
newspapers.
It was the red flag youcouldn't unsee.
Suddenly, everyone's antennaswere up, buzzing with the
prospect that maybe, just maybe,the Crawford household wasn't
the picture perfect portrait.
It was painted to be More thanjust family drama.
(06:34):
It was the prelude to a fullblown overhaul in how the world
viewed Joan Crawford.
Fast forward about a year and ahalf to November 1978,.
Christina Crawford responds,dropping a bombshell memoir,
mommy Dearest.
That blasts holes into the JoanCrawford mystique.
(06:54):
This book wasn't just spillingtea, it was dumping a proverbial
kettle like gasoline on analready raging fire.
The book lashed out withaccusations of physical and
mental abuse, tales of erraticand sometimes downright
terrifying behavior, like nightraids for impromptu house
(07:15):
cleaning, forcing Christina toeat rare meat, like she's
auditioning for survivor, severespankings and, of course, a
legendary hatred for wirehangers.
Yeah, I bet you've probablyheard about that one.
This book didn't just chip awayat the polished exterior of
Joan Crawford, the beloved moviestar.
It obliterated it, mommyDearest, straddled the line
(07:39):
between a tell-all and acalculated strike.
With the precision of abiographer and the flair of a
novelist, christina crafted anarrative that was part
indictment, part catharsis.
It was, in essence, a form ofliterary matricide, laying bare
the wounds of the past with anundercurrent of dark, vengeful
(08:00):
triumph.
Christina, through her words,was not just seeking closure,
she was scripting her own act ofpoetic justice.
When Christina Crawford'sexplosive allegations hit the
public, the fallout wasimmediate and widespread,
igniting a firestorm ofcontroversy.
Joan Crawford's loyal fans, hercircle of friends and even
(08:25):
those who might not have alwaysseen eye to eye with her,
rallied in her defense.
The Joan depicted by Christinawas unrecognizable to them.
Kathy, one of the twins, wentso far as to dismiss the memoir
as the ramblings of a disturbedmind.
The critical reception didn'toffer much reprieve either.
(08:45):
Reviewers were quick tocriticize the book for its
perceived vengefulness,characterizing it as a catalog
of grievances rather than aninsightful exploration into Joan
Crawford's complex personality.
The memoir was often contrastedwith a contemporaneous biography
of Joan by the esteemed filmcritic Bob Thomas, which, while
(09:08):
not shying away from Crawford'scontentious parenting, attempted
to place her actions within thebroader narrative of her own
challenging life experiences.
One critic highlighted thisdistinction sharply, noting that
Thomas managed to capture in afew lines what Christina seemed
to miss entirely in her book.
Joan Crawford, it can bepresumed, held a deep affection
(09:32):
for her children on some level.
Yet it's plausible thatunresolved traumas from her own
childhood led her to adoptstrict and at times unreasonable
disciplinary measures.
Anyone who's experiencedsomething similar can tell you
the cycle of abuse is oftendifficult to break, with the
(09:53):
abused too often becomingabusers themselves despite their
best intentions.
To the contrary, thisacknowledgement in no way
lessens the validity ofChristina's experiences.
Understanding the root causesof someone's actions doesn't
take away the hurt those actionshave caused.
Writing a book like MommyDearest is an act of immense
(10:16):
courage.
It presented an opportunity toshare a painful personal truth
with a world that held a verydifferent viewpoint of its
leading lady.
Perhaps it also offered achance to find some form of
understanding or healing, bothon a personal and public level.
Despite the nuances and pain,the public's reaction to the
(10:37):
memoir centered more on thesensational aspects of
Christina's revelations.
The narrative of her reclaimingher voice and exposing her
truth was compelling, drivingMommy Dearest to immense
popularity.
Despite the critics, it soaredto the top of the New York Times
bestseller list, where itremained for 42 weeks.
(10:58):
Quickly becoming a culturalphenomenon.
Mommy Dearest carved such aprofound impact on popular
culture that it's often hailedas the catalyst for the then
burgeoning genre of parent-basedexploitation memoirs that
followed.
While it wasn't the inauguralwork of its kind, brooke
(11:19):
Hayward's Haywire proceeded itby a year, offering an intimate
glimpse into her challenginglife with parents Leland Hayward
and Margaret Sullivan.
But it was Mommy Dearest thattruly captured the public's
imagination and spurred a waveof similar memoirs.
Christina Crawford'sunflinching portrayal of her
life under Joan Crawford's roofdid more than just enthrall
(11:42):
readers.
It opened the floodgates forothers to share their own
stories of familial strife,setting a precedent for raw,
revealing narratives that delveinto the complexities of
parent-child relationships,especially under the glare of
the public eye.
The remarkable success of MommyDearest naturally caught
(12:02):
Hollywood's eye Drawing theattention of Franck Yblons, a
notable figure whose tenure aspresident of Paramount from 1971
to 1975, was marked by therelease of cinematic giants like
the Godfather, parts 1 and 2,chinatown Love Story and a
CERBICO.
In his last years at Paramountalone, the studio's films
(12:27):
garnered an impressive 39 Oscarnominations.
Following a reshuffle atParamount, yblons transitioned
to independent production in1975, on the hunt for his next
major project.
It was then that Mommy Dearestpiqued his interest.
Demonstrating his keen eye forpotential, yblons secured the
(12:50):
screenwrites for $500,000 evenbefore the memoir hit the
shelves.
In defending ChristinaCrawford's decision to share her
harrowing experiences, yblonsremarked in an interview.
Christina chose to tell thepainful truth about her
relationship with her mother andinstead of being applauded for
her courage by the critics,she's being condemned.
(13:13):
The main reason I want to makeMommy Dearest is because of the
issue of child abuse, an issuewhich has been kept under cover
for too many years.
In 1978, the cinematic journeyof Mommy Dearest began, with
Franck Yblons at the helm of itsdevelopment.
He swiftly initiateddiscussions with the renowned
(13:35):
Italian director, francoZephyrelli, considering him to
steer the film's creativedirection.
Zephyrelli, having previouslydirected Fae Dunaway in the
Champ, brought a unique visionto the table, one that promised
to distinguish Mommy Dearestsignificantly from the film it
eventually became.
Zephyrelli's approach aimed todelve deep into the
(13:58):
psychological aspects of thenarrative, especially
highlighting the challengeswomen face in the film industry.
Through a more nuancedexploration of Joan's
perspective, he articulated adesire to illustrate the
metamorphosis of women intofigures of immense strength,
sometimes at the cost of theirhumanity.
To thrive in a male-dominatedenvironment Quote To survive a
(14:23):
woman must become tough, oftenbecome a monster.
I've seen it happen to twowomen to whom I served as friend
, confidante and businessassociate.
He noted referencing hisrelationships with Maria Magnani
and Maria Callas.
This comment hints atZephyrelli's broader, albeit
somewhat generalized, view ofwomen's struggles within the
(14:46):
industry, suggesting his versionof Mommy Dearest might have
offered a more layered portrayalof its characters and their
motivations, diverging from thenarrower focus.
The final film presented Toembody Joan Crawford on screen.
Frank Giblon's initiateddiscussions with Anne Bancroft,
(15:06):
who resonated with FrancoZephyrelli's vision for the film
.
Bancroft, however, was hesitantto fully commit to the project,
advocating for script revisionsthat would offer a more
sympathetic or complex depictionof the legendary actress.
The screenplay, it turned out,was a considerable obstacle for
Giblon's, challenging him atevery turn.
(15:29):
The rotating door of writersinvolved in the project is, in
hindsight, less surprising thanit might initially seem.
Initially, christina Crawfordherself was brought on board to
pen the screenplay, butdissatisfaction with her draft
led Giblon's to seek out RobertGetchel as a replacement.
(15:49):
Following Getchel, jamesKirkwood, co-author of A Chorus
Line, took a stab at the scriptwithout success.
And then, in November 1979, asteamed writer, william Goldman,
produced a draft.
By April 1980, Tracy Hochnerwas brought in to work on the
screenplay.
(16:10):
Hochner's draft is accessibleonline, allowing some insights
into his personal vision for thefilm, while the precise
sequence of who wrote whichversion of the script and when
remains unclear.
Hochner's version appears toalign with Zephyr Ely and
Bancroft's ambitions to exploremore thoroughly Joan's
(16:31):
professional life andcomplexities therein.
The screenplay opens with ayoung Joan Crawford in Elby
Mayer's office at MGM, where, inthe first few moments, her
breasts are fondled withoutpermission by Mayer himself.
Mayer then unilaterally decidesher screen name, stripping her
of her autonomy from the verybeginning, as Anne Bancroft took
(16:54):
her time deciding on theproject, wanting more depth and
complexity for Joan's character,franco Zephyr Ely eventually
moved on to other endeavors.
Frankie Blonds then approachedanother Frank indie director,
frank Perry, known for hissuccess with films like David
and Lisa and Diary of a MadHousewife, both penned by his
(17:17):
then ex-wife, alan or Perry.
Frank Perry's vision for MommyDearest veered towards a direct
adaptation of the book, aimingto translate Christina
Crawford's harrowing experiencesinto a cinematic format that
was both truthful to the sourcematerial and engaging for
audiences.
Quote my job was to turn thewhole thing into a movie that
(17:40):
was not only faithful to thebook we bought but also an
entertainment.
Perry reflected he wascaptivated by the book from the
moment he read it.
Seeing Christina as a deeplywounded individual, perry was
convinced of the book'sauthenticity, committing to a
portrayal that honoredChristina's narrative.
While navigating the challengeof crafting a film that could
(18:01):
entertain audiences, with AnneBancroft's hesitance becoming
increasingly apparent, sheeventually opted for a role in
the Elephant man.
Instead, frank Yblons and FrankPerry began scouting for other
potential Jones.
Among the possibilitiesconsidered was Sigourney Weaver.
However, discussion soon veeredtowards Faye Dunaway, an
(18:25):
actress Joan Crawford herselfhad once praised.
Crawford had identified Dunawayas the only up-and-coming
actress with the potential to bea true star, a prophecy that
seemed to be aligning withDunaway's trajectory post her
Oscar win for network.
Following her acclaimedperformance in network, dunaway
took on a variety of roles that,well commercially successful,
(18:49):
didn't fare as well critically.
This included theunderappreciated eyes of Laura
Mars and the disappearance ofAmy, where she shared the screen
with Bet Davis.
Apparently, bet, however,wasn't a fan.
Faye Dunaway was on the lookoutfor a role that could
(19:15):
potentially earn her a secondOscar, a prestigious project
that would reaffirm her statusas a leading lady in Hollywood.
The opportunity to portray JoanCrawford in Mommy Dearest, a
film based on a bestselling bookabout one of the biggest movie
stars ever, seemed too good topass up.
Despite the cautionary voicessuggesting that playing Crawford
(19:37):
might not sit well with anindustry keen on protecting its
legends, dunaway was undeterred.
Her commitment to landing therole was nothing short of
extraordinary.
As reported by Michael Moustowin the Village Voice, dunaway
didn't just express interest inthe part, she embodied it.
She meticulously styled herselfafter Joan Crawford and made a
(20:01):
dramatic appearance at the homeof producer Frankie Blonds.
The effect was stunning.
The Blonds was taken aback,confronted with the eerie
semblance of Crawford brought tolife by Dunaway's
transformation.
This moment may well havesealed the deal, proving beyond
a doubt that Dunaway wasn't justsuitable for the role she was
(20:23):
inspired.
Dunaway and Crawford, though nottypically considered similar in
their choice of roles or screenpersonas, shared an undeniable
connection through theircommitment to their craft.
Joan Crawford's on-screenpersona was as fluid as the eras
she traversed, skillfullyadapting to the evolving
(20:43):
landscapes of time and fashion.
She famously encapsulated herown chameleon-like nature by
saying quote I was a flapper inthe Age of Flappers.
I became a sophisticated ladyin the Age of Sophistication.
In contrast, faye Dunaway'scinematic identity was often
grounded in the portrayal ofdangerous and glamorous women,
(21:05):
echoing the mystique of iconslike Marlene Dietrich or Greta
Garbo, rather than Crawford'svaried repertoire.
Yet despite their differingon-screen archetypes, the
real-life similarities betweenCrawford and Dunaway made the
latter's casting in MommyDearest feel serendipitous.
Beyond their professionalachievements, it was their
(21:27):
shared personal narratives thatforged a deeper connection.
Dunaway, like Crawford, wasdriven by a formidable ambition.
Their backgrounds werestrikingly similar Both emerged
from humble beginnings andfractured families, fostering an
early independence andresilience that would become the
bedrock of their careers.
Speaker 4 (21:48):
Do you feel in any way a kinship to Joan Crawford?
Is she anything like you are?
Speaker 1 (21:56):
I feel an enormous kinship, enormous.
You have to admire women withthat sort of determination and
that sort of desire.
Then what you look at is whathappened to her as a result of
it, and how then did her life goon, and to what degree was she
(22:17):
victimized by her own passions,by her own?
What is a wonderful quality ofhunger and a desire that
everything should be wonderfuland perfect?
When, then, did it turn?
Speaker 2 (22:28):
if it is not perfect and won't do, Faye Dunaway's
connection with Joan Crawford'sambition and intensity was so
profound that her reflections onCrawford might well be seen as
an introspective commentary onher own character.
Their shared drive imbued themwith a distinctive energy and a
formidable presence encapsulatedin their self-assured gazes, a
(22:52):
powerful tool in Dunaway'sarsenal as she sought to bring
Crawford to life on the silverscreen.
Similar to Anne Baincroft'searlier intentions, dunaway
aimed for a portrayal ofCrawford that veered away from
the vilification seen in MommyDearest, the book.
Her identification withCrawford extended beyond their
parallel ambitions to a sharedsense of injustice over the
(23:15):
sensationalized narratives thathad come to define Crawford's
legacy.
Speaking to the New York Times,dunaway expressed her
frustration with the quotescandal books about Crawford,
emphasizing her desire to reveala truer, more nuanced story
through the film Quote.
That was one of the mainreasons I wanted to do this
(23:36):
movie.
They are by far not the realstory, dunaway asserted,
challenging the portrayal ofCrawford as a mere tyrant Quote.
She achieved and while monstersdo achieve great deeds, she
wasn't one.
Dunaway saw Crawford not as amonster but as a warrior, a
perspective that resonated withher own experiences and view of
(23:59):
the world.
By the time Faye Dunaway joinedthe project, the screenplay for
Mommy Dearest was far fromcomplete.
The production would see astaggering 18 revised shooting
scripts before it was all saidand done.
When Dunaway was on board,however, frank Yblons and Frank
Perry decamped to Palm Springswhere they hammered out a new
(24:22):
version of the script in just 12days.
Filming kicked off in early1981, and by May of that year
Roger Ebert found himself on theMommy Dearest set witnessing
the intricate dance of artimitating life.
He mused on the peculiar ironyat play.
Joan Crawford had devoted herlife to crafting a public
(24:44):
persona, only for this film topeel back the layers, exposing
the very secrets she had soughtto conceal.
The decision to shoot on closedsets at Paramount hinted at the
movie's controversial contentand its lead actress' complex
reputation.
Indeed, faye Dunaway was knownfor her intensity on set, a
(25:06):
trait that, during thisproduction, led to significant
tensions, including chronictardiness, so disruptive that
studio executives contemplatedreplacing her.
The filming process was notwithout its physical challenges,
particularly a scene so intensethat co-star Diana Scarwin's
safety was jeopardized.
(25:27):
Moreover, ratania Alda, in herTell All book, the Mommy Dearest
Diary, carol Ann tells All,recounts a confrontation between
Dunaway and costume directorIrene Sheriff that ended with
Sheriff in tears.
In an interview, frank Perrycandidly shared the complexities
(25:48):
of navigating behind-the-scenesdynamics during the production
of Mommy Dearest, highlightingchallenges primarily posed by
two executive producers DavidCoontz, christina Crawford's
husband, and Terry O'Neill, fayeDunaway's partner at the time,
whom she later married.
Coontz advocated for aportrayal of Joan Crawford as
(26:08):
exceedingly cruel and abusive,pushing for extreme displays of
violence in every scene.
In contrast, o'neill insistedon softer representations,
particularly concerning physicalinteractions with the children,
to the point where Dunawaywould refuse to perform scenes
deemed too harsh.
Perry's approach to theseconflicting demands was to
(26:32):
assert his directorial vision,albeit in a manner that, by his
own admission, involved a directdismissal of their concerns.
Quote Gentlemen, get the hellout of my way.
I've got a movie to make andI've got to make it the way I
see it.
While Perry framed this as atactful handling of the
situation, the ongoing rumors ofon-sent temper tantrums and
(26:55):
production delays suggest thefriction was far from smoothly
managed.
Faye Dunaway, in reflecting onher experience, acknowledged the
immense personal andprofessional challenge posed by
embodying Joan Crawford.
In her memoir, she expressedher deep commitment to her roles
.
Quote I'll go all the way withsomething because that's how I
(27:18):
work.
This method-acting approach,while often advantageous in
achieving authenticity arguablypushed her to the brink.
In the case of Mommy Dearest,the intense requirement to
channel Crawford's notorioushostility throughout a quote
relentlessly packed screenplaytook a toll, illustrating the
(27:39):
fine line Dunaway navigatedbetween dedication and the
potential for losing oneself ina role as complex and demanding
as Joan Crawford's.
Speaker 1 (27:49):
But it had an enormous amount of extremity to
it and where that is there arealways passions and enormous
feelings that are not manageablebecause they go out of control.
So all those things had to begone absolutely to the heart of
in order to make any sense outof what happened between the
mother and the daughter and whathappened to the mother from my
point of view on her own.
(28:09):
It took me two months and Isort of timed it to really start
to feel like myself again.
Speaker 2 (28:15):
The infamous wire hanger scene from Mommy Dearest
showcases not just the scene'sextreme nature but also the
physical and emotional toll ittook on Faye Dunaway.
Renowned for its intensity, thescene pushed Dunaway to her
limits, resulting in hercollapsing from exhaustion and
causing significant damage toher vocal cords, which
(28:36):
necessitated medicalintervention from a specialist
before she could resume filming.
This moment epitomizes theblend of dedication and risk
inherent in Dunaway's methodacting approach, underscoring
the fine line between compellingperformance and personal
well-being.
Despite the tumultuousatmosphere on set, dunaway,
(28:59):
Frank Yablans and Frank Perrymaintained a belief in the
film's potential to be an awardscontender.
They viewed Mommy Dearest as apowerful medium through which to
engage Americans in a seriousdialogue about the hidden
agonies of child abuse.
However, yablans' reflection onthe film's essence hinted at a
disconnect between intention andexecution.
(29:21):
Describing the film as amixture of quote glamour,
fantasy and tragedy, yablansinadvertently highlighted a
critical concern Can a film thataims to tackle the grave issue
of child abuse with the utmostseriousness afford to
simultaneously court the tonesof glamour and fantasy?
(29:44):
In the lead-up to the release ofMommy Dearest, paramount
Pictures undertook a strategicmarketing blitz.
The studio endorsed theorganization of Crawford movie
marathons, encouraged revivalhouses to showcase their films
and supported Crawford-themedfestivals on television stations
.
This concerted effort not onlyreignited interest in Crawford's
(30:06):
illustrious career, but alsoset the stage for introducing
Mommy Dearest to an audienceprimed for a deep dive into the
legend's more personal stories,particularly her stormy
relationship with her daughter.
Frank Yablans saw the essenceof the film's marketing appeal
encapsulated in its poster.
His strategy was to leveragethe iconic status of Joan
(30:29):
Crawford as played by FayeDunaway, highlighting the allure
and sophistication thatCrawford represented.
Quote I decided early on tosell the gimmick of Faye as Joan
because Joan was an elegantwoman, a star, a legend and the
illusion of perfection.
Yablans shared with the New YorkTimes.
(30:50):
He understood that the film'ssuccess hinged significantly on
the audience's reception ofDunaway's portrayal of Crawford,
acknowledging the pivotal rolethat Dunaway's performance would
play in the film's overallimpact.
Yablans' insight underscored acrucial point the portrayal of
such a complex, larger-than-lifefigure as Joan Crawford by
(31:13):
another celebrated actress wasmore than just casting.
It was the film's central draw.
The campaign's focus on theglamorous yet tumultuous
mother-daughter relationship,set against the backdrop of
classic Hollywood's allure, wasa calculated move.
It highlighted the dualchallenge Mommy Dearest faced
(31:34):
doing justice to the intricaciesof its subjects' lives, while
captivating an audience with thepromise of uncovering the
hidden truths behind a Hollywoodlegend's facade.
And well, oh boy.
Speaker 4 (31:48):
For one of the most entertaining movies of the year,
let's move on to one of theleast entertaining and most
painful movies of the year.
The film is Mommy Dearest,starring Faye Dunaway in an
unremittingly unpleasantportrait of movie star Joan
Crawford.
Speaker 2 (32:01):
Upon its release in September 1981, mommy Dearest
met with skepticism from criticswho largely disapproved of its
execution.
The critical consensussuggested that the film fell
short in offering a nuancedportrayal of Joan Crawford,
instead presenting a relentlesssequence of dramatic and
arguably exaggerated events,without sufficient context or
(32:24):
insight into Crawford'scharacter.
The film's failure to explorethe underlying reasons behind
Crawford's harsh treatment ofher daughter left audiences with
more questions than answers,missing an opportunity to delve
into the complexities of herpersonality and life choices.
Janet Maslin of the New YorkTimes critiqued the film for its
(32:45):
lack of depth in portrayingCrawford, arguing that while the
film didn't need to idealizeCrawford, it did need to provide
her with more dimensionality toachieve any narrative coherence
.
This sentiment echoed thebroader dissatisfaction with the
film's approach to storytelling, highlighting a missed
opportunity to explore the humanbehind the legend.
(33:07):
Even Christina Crawford, whosememoir served as the basis for
the film, expressed her disdainfor the final product.
Her disappointment was soprofound that she had attempted
to reacquire the rights to herbook upon reviewing other script
versions, signaling herdisapproval of the direction in
which her story was taken.
(33:28):
Then the film's reception tookan entirely unexpected turn,
(34:08):
although the filmmakers intendedto induce tears or gasps at the
film's ostensibly harrowingdepiction of child abuse.
Mommy Dearest was playing,apparently to ruckus laughter
across the country.
Nobody was taking their veryserious movie seriously.
It turned out that laughing outloud to the likes of was
(34:43):
exactly what the audience wanted.
Mommy Dearest made a splash atits premiere in New York City in
September 1981, raking in over$750,000 and setting a record
for the largest Septemberopening in New York cinematic
history, according to Paramount.
This initial success hinted atthe film's potential to
(35:04):
captivate audiences, despite thecritiques it faced.
As the studio recognized thefilm's unique appeal, it shifted
its marketing strategy fromshowcasing a portrait of Faye
Dunnway as Joan Crawford tohighlighting the now infamous
wire hangers branding the filmwith the tagline the Biggest
(35:25):
Mother of them All.
This pivot in advertisingstruck a nerve with Frankie
Blonds, who found the newcampaign distasteful and
offensive, leading him to file a$10 million lawsuit against
Paramount.
However, his legal action wasultimately dismissed in court.
Over the years, mommy Dearesthas transcended its initial
(35:48):
reception and the filmmaker'soriginal intentions, carving out
a distinct niche in pop culture.
The film's enduring fascinationlies beyond the realms of
conventional cinematic critiqueor its adherence to the factual
accuracy of Christina Crawford'smemoir, its appeal actually
taps into something far moreelusive a combination of camp
(36:13):
melodrama and the sheer force ofits performances, especially
Dunnway's portrayal of JoanCrawford, which has become
iconic in its own right.
In this light, evaluating MommyDearest and Dunnway's
performance by traditionalcritical standards may miss the
mark.
The film's legacy is not somuch about its quality in a
(36:35):
classical sense, but about itsability to engage, provoke and
entertain audiences inunexpected ways.
Embracing Mommy Dearest forwhat it truly is, the quote
citizen fucking cane of camp endquote opens up a unique lens
through which to appreciate itsplace in cinematic history.
(36:56):
By guiding our explorationthrough Susan Sontag's notes on
camp, we can dissect themagnetic allure of this film,
unraveling the layers that makeit a fascinating spectacle for
audiences.
Camp taste revels in theessence of instant character, an
(37:18):
attribute Mommy Dearestembodies with its
larger-than-life portrayal ofJoan Crawford by Faye Dunnway.
The film sidesteps the nuanceddevelopment of character in
favor of presenting Crawford ina state of perpetual intensity a
quote continual incandescence.
This approach aligns withSontag's observations that camp
(37:40):
appreciates character not as ajourney but as a fixed, vibrant
spectacle.
Mommy Dearest takes itselfseriously, from its dramatic
nature and narrative to itsearnest performances.
Yet it is precisely thisseriousness that veers into the
realm of camp.
The film's earnestness,combined with its excessive
(38:04):
elements, renders it anexperience that teeters on the
boundary between the serious andthe absurd.
Camp, in essence, transformsthe solemn into the comically
trivial, imbuing Mommy Dearestwith a distinctive charm that
captivates and amuses.
Sontag describes camp as aspecific sensibility toward
(38:27):
style, a style characterized byan affinity for the exaggerated,
the quote off and thetransformation of the ordinary
into the extraordinary.
Camp perceives everythingthrough quotation marks,
suggesting a detachment fromreality that invites viewers to
see beyond the literal.
(38:47):
It's not merely a lamp, forexample, in a camp perspective,
but quote a lamp, not just awoman, but quote a woman.
This mode of perceptionunderscores the concept of
existence as performance, whereevery element in character in
Mommy Dearest is not justplaying a role but reveling in
(39:07):
the artifice of that role.
Frankie Blonde's intuition aboutthe pivotal role Faye Dunnway's
portrayal of Joan Crawfordwould play in Mommy Dearest was
remarkably prescient.
Her performance, brimming withexcess and theatricality, has
been a focal point of the film'sdiscussion.
John Waters famously dubbed itquote the first drag queen role
(39:30):
played by a woman a testament toits over-the-top nature which,
while challenging to takeentirely seriously, is
undeniably mesmerizing.
Dunnway's approach to Crawfordamplifies every emotion and
gesture to such an extent thatit veers away from providing a
realistic portrayal of theactress.
(39:51):
Instead, she crafts ahyperbolic, stylized quote Joan,
a character that may sharelittle with the real Crawford's
demeanor beyond her iconicmakeup.
This exaggerated depiction,however, has its own artistic
merit, inviting viewers into agrandiose interpretation of
(40:12):
Crawford's persona.
Indeed, some critics foundvalue in Dunnway's extravagant
performance.
Pauline Cale, in her review forthe New Yorker, lauded the
operatic quality of Dunnway'sportrayal, likening it to quote
hard-nosed Crawford drag.
Cale highlighted the wayDunnway embraced the aesthetic
(40:33):
of Crawford's vehement rejectionof wire hangers, drawing
parallels to the gothicflamboyance of whatever happened
to Baby Jane.
Faze Betrayal and Mommy Dearestearned her a truly unique place
in cinematic history,simultaneously securing her a
runner-up position for the NewYork Critics Circle Best Actress
(40:54):
Award and the Razzie for WorstActress in the same year.
Truly a testament to thepolarizing reception of her
performance.
The film itself wascontroversial enough to garner
eight Razzie's Truly dividedcritical response.
Dunnway has candidly expressedher complex feelings about the
(41:16):
role, revealing a mixture ofnegativity and recognition of
her own efforts.
Her main critique lies in thefilm's leading towards camp,
which she views through a lensof traditional criticism,
finding it derogatory and amisrepresentation of the story's
core human drama, quote.
It became camp.
(41:36):
It wasn't brought into a vision, she has said, lamenting the
shift away from exploring thenuanced relationship between
Joan Crawford and her daughterto a portrayal she deems almost
caricatured.
In her memoir, dunnway reflectson the film's campiness as an
exaggeration that lost sight ofthe story's heart, leaving the
(41:57):
production feeling quote out ofkilter and quote off-center.
Despite these challenges, sheacknowledges the strength of her
performance, marred only by theabsence of quote, the
modulation of a good director.
Dunnway emphasizes the actor'srole in delivering their best
(42:17):
regardless of the film'sdirection, while also noting
that the ultimate tone of amovie lies in the hands of its
director and producers.
If the intention was to make aserious film about stardom and
child abuse which, as we'velearned from Dunaway, yablons'
and Perry's quotes, it was thendirectorial intervention could
(42:38):
have helped tone down many ofthe film's campiest moments.
Even Joan Crawford herself knewthat.
Speaker 3 (42:44):
Well, wolf, I don't think anyone starts out thinking
they're going to make a badpicture.
They're hoping that thedirector they choose, the
producer, the writers andeveryone who works on the set
with them will offer a bit ofadvice and help to overcome the
weaknesses and there areweaknesses in every script, in
(43:06):
every story, like your child,but child has weaknesses.
Speaker 2 (43:11):
Faye Dunaway's reluctance to fully embrace her
role in Mommy Dearest and itssubsequent camp status reflects
a complex relationship betweenan artist and their work,
especially when public receptiondiverges sharply from personal
and professional intentions.
Despite the roles, polarizingnature and the film's
recognition and reception,dunaway has to date stopped
(43:34):
short of acknowledging her partin steering the film toward its
over-the-edge camp acclaim.
There's a certain melancholy inDunaway's open regret for her
involvement in Mommy Dearest.
The performance, regardless ofits intent, has found a devoted
audience that cherishes it forits extravagant expressiveness
and the sheer entertainment itprovides.
(43:54):
One can imagine an alternatereality where Dunaway might
celebrate this unexpected legacywith humor and grace, perhaps
even participating in the film'scelebration alongside its fans,
who would undoubtedly relishthe opportunity to recite lines
with her at special screenings.
Christina Crawford herself hascome to terms with the film's
(44:16):
unique place in the culturallexicon, acknowledging its camp
classic status and the humor ithas inspired among audiences.
In an interview with Salon, sheexpressed a recognition of the
film's impact, preferring toengage with it through a sense
of humor rather than resistance.
Quote I've certainly heard thejokes and seen the cards.
(44:36):
This is a way of saying that Iunderstand Far better than my
sense of humor should also beengaged.
She stated Faye Dunaway'sapproach to Mommy Dearest and
her subsequent discomfort withits reception is deeply rooted
in her artistic and ethicalconvictions.
Having set out with theintention to humanize Joan
(44:56):
Crawford, a figure, dunaway felta profound connection with Her.
Commitment to the role wasfueled by a desire to reveal the
complexities andvulnerabilities of Crawford's
character.
As a dedicated method actor,dunaway sought authenticity and
truth in her portrayal, aimingto offer a nuanced understanding
of Crawford beyond thescandalous headlines.
(45:19):
The outcome, however, veeredsharply from her aspirations.
The film's portrayal andDunaway's performance
inadvertently amplified thevilification of Joan Crawford,
contributing to a legacy thatDunaway had hoped to
counterbalance.
The realization that herportrayal not only failed to
(45:39):
humanize Crawford but alsobecame a subject of nationwide
parody for its perceivedexaggeration was understandably
a difficult pill to swallow.
This dissonance betweenDunaway's artistic objectives
and the public's receptionlikely felt like a betrayal of
her principles and efforts.
Describing the situation asakin to a quote murder, suicide
(46:02):
captures the profound sense ofentanglement and mutual
destruction between Dunaway'sportrayal and Crawford's
posthumous reputation.
Mommy Dearest not only alteredpublic perceptions of Faye
Dunaway but also had tangiblerepercussions on her career
trajectory.
The film pushed Dunaway'sestablished screen persona of
(46:24):
the glamorous and dangerouswoman to such an extent that it
began to detract from thegravitas and complexity she had
previously brought to her roles.
This shift posed a significantchallenge to the professional
identity she had meticulouslycultivated over the years.
Dunaway herself hasacknowledged the impact of Mommy
Dearest on her career, notingquote I never compromised the
(46:48):
acting in playing Joan, but Ithink the film ultimately did
compromise my career.
This sentiment was echoed inthe media, with Diane Hatheman
in the LA Times suggesting in1994 that Dunaway was quote
unofficially relieved of hermovie stardom crown in the
aftermath of the 1980s.
David Denby's assessment in theNew Yorker was even more
(47:11):
forthright, stating quote MommyDearest finished her career as a
star.
The consequences of MommyDearest extended beyond critical
and public reception.
Dunaway's subsequent move tothe UK and her choice to take on
smaller, less prominent rolesreflect a strategic retreat from
the limelight and recalibrationof her career in response to
(47:31):
the film's fallout.
This period of laying lowcoincided with a challenging
time for actresses in Hollywood,particularly as Dunaway had
just turned 40, a notoriouslydifficult age for women in the
industry due to pervasive ageism.
Furthermore, her reputation forbeing challenging on set,
combined with what was perceivedas quote the worst performance
(47:55):
of her life occurred just as anew gender and her career was a
new type of career.
The performance of her lifeoccurred just as a new
generation of actresses likeMeryl Streep, glenn Close and
Jessica Lange were rising toprominence.
Speaker 4 (48:09):
But did you have a pass on a role that you regret
to bestave?
Why did I do that?
Speaker 1 (48:14):
Even then, wouldn't it be made by someone else?
Yeah, A few longings along theline.
The one I guess that peoplewould know most is Francis
Farmer which Jessica Langeplayed, but I didn't want to
play another crazy movie staryou just sent Mommy to her.
Is that right after?
Oh yeah, I don't get that.
Still trying to live down.
Speaker 2 (48:33):
Faye Dunnway's return to Hollywood was characterized
by a discernible shift in herchoice of roles and her approach
to her career.
In an effort to reclaim agencyover her professional path and
to diversify her portfolio,dunnway took the bold step of
buying and producing her ownprojects.
This included films like ColdSassy Tree and Masterclass, for
(48:56):
which she still holds the filmrights.
These endeavors reflect herdesire to explore a broader
range of narratives andcharacters, moving beyond the
confines of her previouslyidentified image.
In a notable departure from herestablished glamorous persona,
dunnway took on roles thatrequired her to de-glam
significantly.
(49:17):
Films such as Barfly and DonJuan de Marco saw her stepping
into a more raw and unvarnishedcharacter, a move that showcased
her versatility and commitmentto her craft.
These roles allowed Dunnway todemonstrate her range and depth
as an actress, challengingaudiences to see her in a new
(49:37):
light.
Dunnway's foray into comedymarked another significant pivot
in her career.
Despite being known for herintense and dramatic roles, she
embraced the comedic genre,including a stint in a
short-lived sitcom.
Although this venture intotelevision comedy might not have
achieved mainstream success, itis still available on YouTube
(50:01):
for viewers to appreciateDunnway's willingness to
experiment with different formsof expression and to not take
herself too seriously.
Speaker 1 (50:09):
Albert, if I had a dollar for each time you
threatened to kill yourself whenyou were late finishing a book,
I could buy enough coffee towake up Truman Capote and have
him write it.
Speaker 2 (50:21):
In the wake of Mommy Dearest Faye Dunnway faced a
unique dilemma.
The intensity and conviction ofher portrayal of Joan Crawford
led to an unintended blurring ofthe lines between actress and
character in the public'sperception.
Initially, dunnway hademphasized the similarities
between herself and Crawford toconnect more deeply with the
(50:41):
role, but the aftermath of thefilm compelled her to
recalibrate her public persona.
Dunnway's concerns about beingtypecast or mistaken for the
traits she displayed as Crawfordwere not unfounded.
Her performance was soconvincing that it sparked
conversations and speculationsabout how closely Dunnway's own
personality mirrored that of theformidable Joan Crawford.
(51:03):
This association was furthercomplicated by Dunnway's
reluctance to engage with themedia.
Her infrequent, in-frequentindifference in the film's
context was a infrequent.
Interview's left a void thatwas filled with conjecture,
reinforcing the notion thatDunnway herself might possess
the same quote, icy, remote,manipulative and even dangerous
(51:26):
qualities she so adeptlyportrayed on screen.
Speaker 1 (51:30):
I might take Crawford back, but I really wouldn't
because I did like her so much.
The only reason is because shewas very larger than life and I
wouldn't.
I don't want to be that myself,and there's an inevitable
tendency of people who both workin the industry and the
(51:53):
audience to associate, to thinkyou're like the parts you play.
There wasn't a lot of chance inthe film for the softness or
for the light side of me, theintelligent side of me, the
gentle side of me, the generousside of me.
But I liked her the leastbecause I felt uncomfortable
being identified with her.
(52:14):
I felt uncomfortable with heras a part of my persona, which
of course, she became just tosome degree.
Speaker 2 (52:21):
And unfortunately it's true.
The intertwining legacies ofFaye Dunnway and Joan Crawford
find a fascinating illustrationin Alyssa Edwards' performance
on Snatch Game of RuPaul's DragRace.
This instance exemplifies howDunnway's portrayal of Crawford
in Mommy Dearest has become atouchstone for both figures,
(52:43):
merging their personas into asingular cultural icon that
transcends each of theirindividual identities.
Edwards' portrayal captures theiconic visual trademarks
associated with Crawford theexaggerated lips and eyes
alongside the sleekarchitectural hairstyle, paying
homage to Crawford's enduringinfluence on glamour and style.
(53:05):
Yet the dialogue Edwardschooses to embody doesn't draw
from Crawford's illustriousfilmography, such as Mildred
Pierce or whatever happened toBaby Jane.
Instead, it pulls directly fromMommy Dearest, specifically
echoing Dunnway's memorablelines from the film Ladies and
(53:26):
gentlemen, the legendary JoanCrawford how are the kids, joan?
Speaker 1 (53:31):
I'm deliberately trying to embarrass me in
Fonety's report.
Oh, I've thought words monstersfor years in Hollywood.
Yes, I know.
Speaker 2 (53:39):
Barbara, please.
Speaker 1 (53:46):
Don't fuck with me, fellas.
Speaker 2 (53:51):
This choice highlights a fascinating layer
of performance.
Alyssa is channeling Crawfordnot through the lens of her own
storied career, but throughDunnway's interpretation of her
in a very specific role.
This meta performance, whereAlyssa enacts a drag version of
Faye Dunnway's own dramaticportrayal of Joan Crawford,
(54:14):
underscores the complex ways inwhich Crawford and Dunnway's
images have melded in the publicconsciousness.
Dunnway's Crawford is notmerely an act of mimicry, but
has become an indelible part ofhow Crawford is remembered and
celebrated, particularly withinthe context of camp and drag
culture.
The lines between actress andcharacter blur, creating a
(54:37):
hybrid identity that speaks tothe power of performance, the
durability of cinematic legacyand the unique ways in which art
imitates life and vice versa.
While Faye Denoway's concernsabout Joan Crawford merging with
her own persona are valid, thestark reality remains that it
was Crawford's name, notDenoway's, that bore the brunt
(55:00):
of the mommy dearest legacy.
For Crawford, the portrayal inmommy dearest wasn't just a
cinematic role but a publicairing of her personal life,
transforming her legacy inprofound and complex ways.
Prior to the film's release,joan Crawford's reputation was
already a tapestry of Hollywoodglamour and personal
(55:23):
controversies, includinghigh-profile feuds, multiple
divorces and her unwaveringloyalty to Pepsi, a company she
had become associated withthrough her marriage to Alfred
Steele, a Pepsi executive.
Her later film choices, oftencriticized as exploitative
attempts to maintain relevance,also contributed to a mixed
(55:45):
public image.
Yet mommy dearest crystallizedand intensified public
perception of Crawford in waysshe couldn't have anticipated or
countered.
In the aftermath of the film,crawford's persona was distilled
into a series of pejorativelabels that often veered into
ableism and misogyny.
Terms like quote, dictatorial,harpy, ugly, old witch and
(56:10):
various iterations of monsterbecame shorthand for Crawford,
overshadowing heraccomplishments and complexity
as an actress and a person.
This reductive portrayalcontributed to Crawford becoming
synonymous with the archetypeof quote bad Hollywood parent, a
reputation that has provedsticky and enduring.
To me, labels like monsterdon't do very much to understand
(56:35):
anything about abuse or how itperpetuates On this episode.
We've talked a lot about howcunningly Joan Crawford
navigated her career and managedto outlast some of her peers
with her extraordinary will tosurvive.
But the battles she waged toescape the abject poverty of her
childhood and to achieve whatshe did professionally came with
(56:57):
sacrifices and consequences.
In competent hands, her storycould be a heartbreaking
faustian drama that would exposea terribly flawed and scarred
but resilient and intuitivehuman being.
But Mommy Dearest, isn't that?
But I'd wager it's what theaverage person knows about Joan
Crawford today, if they knowanything at all.
(57:19):
Still, I think no understandingof the cultural influence of
this film would be completewithout taking a look at the
communities who have embraced itthe most.
Joan Crawford's connection tothe LGBTQ plus community,
particularly gay men, has longbeen part of her legacy, a
reputation that she herselfrecognized and appreciated.
(57:41):
Her appearance at the LegendaryLadies of the Screen event in
1973 at Town Hall in New YorkCity highlighted this connection
.
Noting the predominantlyhomosexual composition of her
audience, crawford expressed heraffinity and camaraderie with
the LGBT community, even if shecouldn't fully articulate the
reasons behind their mutualaffection.
(58:02):
The release of Mommy Dearest in1981 marked a pivotal moment in
the relationship betweenCrawford's legacy and her gay
fans.
The film, with its campydelivery and exaggerated
emotional scenes, naturally lentitself to becoming a cultural
artifact within drag culture andbeyond.
The depiction of Crawford andMommy Dearest became a source of
(58:24):
inspiration for performancesthat celebrated and critiqued
the film's portrayal of her.
Daniel Harris' account of NewYork City drag queen's dressing
as Joan Crawford and playfullyenacting scenes from the film
captures the creative ways inwhich the queer community
embraced and transformed MommyDearest into a cultural event.
(58:45):
Paul Festa's reflections forSalon on the film's appeal to
gay audiences further illuminatethe unique ways in which Mommy
Dearest resonates with the queerculture.
He suggests that the filmcreates an alternative moral
universe, one that invitesviewers to engage with its drama
through a lens of campsensibility and humor.
(59:05):
This collective experience ofwatching Mommy Dearest,
particularly amongst gay men, islikened to an energetic and
jubilant gathering where thelines between antagonists and
protagonists blur amid sharedlaughter and camaraderie.
I want to dive into a theory Ihave about why gay men are
(59:27):
particularly drawn to iconicfemale stars, beyond just the
likes of Myrna Loy or CarolLombard.
It's about the specialconnection to the likes of Joan
Crawford, bette Davis, lizaMinnelli, judy Garland, marilyn
Monroe, and the list goes on.
Here's my take.
Gay men in many ways live asthe other in society, living a
(59:53):
world where they're often on theperiphery, in a patriarchal
society.
Women share this experience ofbeing the quote other.
So there's this naturalaffinity, a sense of kinship.
And when these women alsoembody extraordinary talent,
beauty, vulnerability or allure,they become even more relatable
(01:00:14):
to someone accustomed to livingoutside the norm, like Natalie
Wood, for example, a story we'llcover in depth on this podcast
very shortly.
She was beautiful, sexy,vulnerable and immensely
talented.
Joan Crawford too, with hercommanding presence and
undeniable talent, thoughdifferent from the likes of Uta
(01:00:36):
Hagen, bette Davis or MerylStreep, captured hearts in her
own right.
So why does this matter?
Well, for gay audiences,there's a deep connection to
these women who, like them,stand out from the mainstream.
But there's this interestingcultural shift in the 1960s,
epitomized by whatever happenedto Baby Jane.
(01:00:58):
This film, showcasing aradically different Joan
Crawford, mirrored largersocietal changes and perhaps
even the gay community's ownreflections on aging and
relevance.
It's a complex dance ofidentity, representation and the
passage of time.
There's this oscillationbetween parody and profound love
(01:01:21):
for these iconic figures,revealing a rich tapestry of
admiration, identification andreflection.
I've always had a soft spot forJoan Crawford.
To me, she stands alongsideJudy Garland, marilyn Monroe and
Elvis Presley as one of thetragic figures of American
entertainment.
Unlike them, her strugglesweren't played out in the
(01:01:45):
tabloids due to public drugaddiction.
Crawford's battles were foughtbehind closed doors, making her
story all the more intriguingand perhaps misunderstood.
The TV series Feud capturedthis aspect of her life
beautifully in its final episode, reaching depths that mommy
dearest somehow missed.
(01:02:08):
Carl Jonas, who worked atColumbia Pictures in the 70s and
became close with Crawford,penned a revealing book about
her later years, and there'sthis poignant moment where
Crawford confesses, quote Irealized recently that I don't
really know exactly who I am.
I've been playing all theseroles and they're a part of who
(01:02:28):
I thought I was, but now Irealize I don't know who I am.
This revelation strikes a chordwith me.
It's a stark reminder of thecost of conforming to and
excelling within a system thatultimately might not care about
your well-being.
Joan Crawford's journey from anear-starving chorus girl to a
(01:02:51):
celebrated star under the brightlights of a major movie studio
must have been intoxicating towatch.
The glamour, the excitement.
It's understandable why she wasdrawn to it, why she embraced
it, but her reflection in herlater years offers a profound
insight into the personal costsof such a dazzling public life.
(01:03:13):
There's this universal truththere you can follow all the
rules, play the game toperfection and still find
yourself searching for your trueidentity amidst the roles
you've played.
Crawford's story, as tragic asit is compelling, is a painful
reminder of the delicate balancebetween our public personas and
(01:03:36):
our private truths.
And so we've traversed thisdelicate line between camp's
extravagant humour and itsprofound darkness that is echoed
in this film, a line that,oddly enough, feels like home to
so many of us.
Thinking about camp, especiallythrough the prism of mommy
(01:03:57):
dearest, I can't help but marvelat its unique power.
It's this incredible balancingact.
On one side, you've got thisover-the-top, almost absurd
humour that somehow makes thedark themes more approachable,
and on the other, there's thisundeniable darkness, a kind of
pain and struggle that's just asreal as anything.
(01:04:19):
Yet here we are somehow findingcomfort in both Reflecting on
the film's darker elements, itsportrayal of abuse, the quest
for identity.
It struck me that acknowledgingthese darker aspects of its
creation don't make us love thefilm any less.
If anything, it makes ourconnection to it deeper and more
(01:04:45):
meaningful.
Mommy dearest isn't just thecitizen fucking cane of camp for
its entertainment value alone.
It's a sounding board for thecomplexities of the human
experience, wrapped in theextravagance of camp, inviting
us to look closer to feel evenmore deeply.
This film, with all its flairand shadows, holds up a unique
(01:05:09):
lens to the world, a world wherethe line between tragedy and
comedy is thinner than we mightlike to think, and perhaps
that's what draws us in the wayit captures the absurdity and
the beauty of life all at thesame time.
So as I reflect on our journeythrough the legacy that Mommy
(01:05:30):
dearest has woven, I feel asense of gratitude For Joan, For
Faye, for the film itself.
They've given us somethingtruly special A space where we
can embrace the full spectrum ofour emotions in full, vibrant,
technical, where we can findlaughter in the darkness and
(01:05:52):
reflection in the excess.
And it reminds me of thestrange, wonderful comfort found
in the world of camp, whereevery extreme emotion and every
lavish gesture feels somehowlike it belongs to us all.
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