Mommie Dearest

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This movie is my #1 guilty-pleasure when it comes to movies. Yes, it is camp and over the top, but like they say, they don’t manufacture ‘em like this anymore.

Of course, this movie would be NOTHING without the peerless Faye Dunaway. A virtual facial contortionist, she plays up every scene and mood change. She also is able to act the portion of the Hollywood diva very well. And this movie is fleshy of diva behavior. Win, for example, the scene in which she chops up the rose garden, dressed in haute couture, the side of her face bruised and chop. She mutters “box office poison” and all of the other terrible things that Mayer told her, and makes her depressed limited children haul away the wreckage. Then, she wields an axe like nobody’s business. This is a priceless diva moment.

Mommie Dearest is fleshy of similar moments. Assume, for example, the scene that occurs shortly after she made Christina endure the swimming lesson from hell. Faye (Joan) coolly informs Christina that she will always be bigger and faster than her. Her face is perfectly made up, her hair wrapped in a white towel, a la Marilyn Monroe. She gives her young daughter a incredible “top this, b…ch” glance. She repeats this gawk, even more effectively, when Christina comes into her room to issue about her missing dolls in a later scene.

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The rivalry between mother and daughter is very riveting. From the dramatic point of thought, the actress that plays the child Christina is scheme better than the older Christina. Mara (young Christina) chews the scenery unbiased as worthy as Faye. Retract, for example, when she slowly closes the door after her mother accepts the award for the Oscar on her front porch. She stares at the paparazzi longingly, wanting to savor what her mother enjoys. Also, there is the scene when she walks in on her mother making out with the good-looking younger man. Instead of running out of the room, she stands there, Lolita-esque, honest staring and staring. Her mother exacts her retribution by packing her off to boarding school!

Of course, the abuse scenes are the most effective of all. Try as I might, I can’t sit through the sissors, wire hanger, or choke scenes without bursting into laughter. Call me sick, or jaded. Of the three, the wire hanger scene is the best. If they had stopped at the beating, that would have been enough, but then Joan goes further with it. She drags Christina into the bathroom, criticizes an obviously spotless floor (that she made her acquire young daughter spruce when she has a maid (!) ), and then proceeds by showering her with cleaning powder. It really breaks my heart when I eye young Christina there, teary-eyed, saying “Jesus Christ”. I never laugh at that piece. Then, her younger brother comes to back, and she begs him to go serve to bed. Bad thing.

Older Christina is a disappointment. First, she has that twangy accent. Are we really to occupy that Joan Crawford’s daughter spoke this intention? The most annoying portion is when she flatly says, “We’ll manage” (twice), in the scene when her mother tearfully tells her of losing another movie contract.

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As for Faye Dunaway, I wish they hadn’t made her say “I’m damn enraged!” twice. That’s the only line she utters that irritates me.

This is the one movie that I could sight endlessly. It is a tour de force, and camp to boot.

I’ve always believed that this film has been misunderstood. Admittedly I can understand why people would laugh at scenes like the one where Faye Dunaway shouts to her daughter, “Tina bring me the ax!” But is child abuse really silly? I don’t deem so. I must admit that the scenes of child abuse, perhaps exploitative, are chilling and realistic. Thanks to the brilliant performances by Faye Dunaway, Diana Scarwid and the actress who played young Christina, you really feel like you are in that house with these characters. You fair want Joan to finish.

Faye Dunaway’s career has never been the same since this film since it is now regarded as a camp classic, yet I assume this is one of her best performances. She makes Joan a complicated woman: cruel, irrational, glowing, pathetic, perhaps mentally ill and yet also sympathetic.

I don’t know how true the film is and unfortunately Joan Crawford was never able to defend herself, but the film is based on the book, and it is fair to the spirit of Christina Crawford’s memoir: it is relentless, hideous, unlit and unforgettable.
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