CINEMATIC SECRETS | Mommie Dearest: The Citizen F**king Cane of Camp

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.

Transcript

Speaker 2: 0:11

If you've somehow managed to navigate pop culture without actually watching Mommy Dearest, I guarantee you're still familiar with its most famous or infamous auditory landmarks.

Speaker 1: 0:23

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 in this closet when I told you? No wire hangers ever, barbara, please, please, barbara, don't fuck with me, fellas, this ain't my first time at the rodeo. You're fakes. Mommy, I need to go. I'm ready to go bald to school and look like a tramp.

Speaker 2: 0:58

The film has earned a notorious reputation, not just for its rebirth in recent years as a cult classic, but also for the stormy history of its production and the profound impact it had on its leading lady, Faye Dunaway.

Speaker 3: 1:12

Do you like all the parts that you have to take in your car?

Speaker 1: 1:16

Do I like all of them? No, no, when the most difficult part and I always feel the one that was the biggest mistake in a certain way was Crawford.

Speaker 2: 1:26

Today we're about to take a deep dive, no one asked for, into the swirling vortex of drama, controversy and unexpected legacy that surrounds Mommy Dearest. But we're not here to pick apart the truth versus the fabrications of Christina Crawford's tales of abuse or past judgment over Joan Crawford's memory. My true interests are more on unraveling the mystery of how this film, initially panned and vilified, managed to claw its way into the cult classic Hall of Fame, changing the reputations of both Joan Crawford and Faye Dunaway forever. I've scoured the tumultuous behind-the-scenes stories, zeroed in on what the filmmakers were trying to achieve against all odds and examined the aftermath of how this cinematic venture has reshaped the narratives around these iconic women. But of course, being completely objective about Mommy Dearest is like trying to navigate a minefield blindfolded. But I've done my homework, sidestepped the landmines of speculation and done my best to keep my own conjecture at bay.

Speaker 2: 2:36

Kind of Faye Dunaway herself has echoed a sentiment that's hard to ignore. The real truth of what happened between Joan and Christina, the depth of their conflict, their love, their struggles, is locked away, accessible now only to God. And, honestly, the truth of what's verifiable from the alleged abuse and what's propagated over decades of Hollywood lore is ultimately, at least for our purposes not ours to solve, but the impact, the legacy and the cultural fascination with Mommy Dearest, the film. That's a journey worth taking. This is Cinematic Secrets the dark side of the silver screen, beyond the silver screen. Go ahead, make my day. A world of dreams and fantasies unfolds.

Speaker 4: 3:33

They call me. Mr Tibbs, you can't handle the truth.

Speaker 2: 3:40

But within its shadows, a hidden realm of intrigue and mystery awaits. Frankly, my hair. I don't give a damn.

Speaker 1: 3:48

I could have been a contender.

Speaker 4: 3:53

Of all the gin joints in all the towns in all the world she walks into mine.

Speaker 2: 4:00

Cinematic Secrets beckons you to journey into the depths where untold stories shape the films we cherish, uncover the secrets that propelled these classics to greatness, and unearth the darker truths lurking beneath the surface. Beyond the glamour and allure lies a hidden narrative, a side untold. This time we lift the curtain and peer into the darkness that resides in the very heart of the silver screen. Journey with us as we explore the forbidden corners where truth blends with fiction and legends are born. This is Cinematic Secrets the dark side of the silver screen.

Speaker 4: 5:01

She was born Lucille LeSouir and she went to Hollywood from Broadway musicals. Her first movie was Pretty Ladies in 1926, Zazu Pitz was the star. She left the world of glamour and dancing in 1945 when she showed her dramatic abilities in the movie Mildred Pierce. She's been inactive in recent years. She had no history of serious ailments before her death of a heart attack this morning. Joan Crawford was 69 years old.

Speaker 2: 5:25

Charlotte Chandler, joan's biographer, tells us Crawford wasn't exactly swimming in 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 on to charities, but when it came to her kids, things were a little bit more complicated. The twins, kathy and Cindy, got a decent slice of the Crawford pie about 77 grand each. Yet for Christina and Christopher, crawford's will dropped a bombshell as word of it reached the public. It is my intention to make no provision herein for my son Christopher or my daughter Christina, for reasons which are well known to them. Ouch, this cryptic clapback from the beyond didn't just make waves. It set off a pop culture tsunami Splashed across the newspapers. It was the red flag you couldn't unsee. Suddenly, everyone's antennas were up, buzzing with the prospect that maybe, just maybe, the Crawford household wasn't the picture perfect portrait. It was painted to be More than just family drama. It was the prelude to a full blown overhaul in how the world viewed Joan Crawford.

Speaker 2: 6:44

Fast forward about a year and a half to November 1978,. Christina Crawford responds, dropping a bombshell memoir, mommy Dearest. That blasts holes into the Joan Crawford mystique. This book wasn't just spilling tea, it was dumping a proverbial kettle like gasoline on an already raging fire. The book lashed out with accusations of physical and mental abuse, tales of erratic and sometimes downright terrifying behavior, like night raids for impromptu house cleaning, forcing Christina to eat rare meat, like she's auditioning for survivor, severe spankings and, of course, a legendary hatred for wire hangers. Yeah, I bet you've probably heard about that one. This book didn't just chip away at the polished exterior of Joan Crawford, the beloved movie star. It obliterated it, mommy Dearest, straddled the line between a tell-all and a calculated strike. With the precision of a biographer and the flair of a novelist, christina crafted a narrative that was part indictment, part catharsis. It was, in essence, a form of literary matricide, laying bare the wounds of the past with an undercurrent of dark, vengeful triumph. Christina, through her words, was not just seeking closure, she was scripting her own act of poetic justice.

Speaker 2: 8:15

When Christina Crawford's explosive allegations hit the public, the fallout was immediate and widespread, igniting a firestorm of controversy. Joan Crawford's loyal fans, her circle of friends and even those who might not have always seen eye to eye with her, rallied in her defense. The Joan depicted by Christina was unrecognizable to them. Kathy, one of the twins, went so far as to dismiss the memoir as the ramblings of a disturbed mind. The critical reception didn't offer much reprieve either. Reviewers were quick to criticize the book for its perceived vengefulness, characterizing it as a catalog of grievances rather than an insightful exploration into Joan Crawford's complex personality.

Speaker 2: 9:03

The memoir was often contrasted with a contemporaneous biography of Joan by the esteemed film critic Bob Thomas, which, while not shying away from Crawford's contentious parenting, attempted to place her actions within the broader narrative of her own challenging life experiences. One critic highlighted this distinction sharply, noting that Thomas managed to capture in a few lines what Christina seemed to miss entirely in her book. Joan Crawford, it can be presumed, held a deep affection for her children on some level. Yet it's plausible that unresolved traumas from her own childhood led her to adopt strict and at times unreasonable disciplinary measures. Anyone who's experienced something similar can tell you the cycle of abuse is often difficult to break, with the abused too often becoming abusers themselves despite their best intentions. To the contrary, this acknowledgement in no way lessens the validity of Christina's experiences. Understanding the root causes of someone's actions doesn't take away the hurt those actions have caused. Writing a book like Mommy Dearest is an act of immense courage. It presented an opportunity to share a painful personal truth with a world that held a very different viewpoint of its leading lady. Perhaps it also offered a chance to find some form of understanding or healing, both on a personal and public level.

Speaker 2: 10:37

Despite the nuances and pain, the public's reaction to the memoir centered more on the sensational aspects of Christina's revelations. The narrative of her reclaiming her voice and exposing her truth was compelling, driving Mommy Dearest to immense popularity. Despite the critics, it soared to the top of the New York Times bestseller list, where it remained for 42 weeks. Quickly becoming a cultural phenomenon. Mommy Dearest carved such a profound impact on popular culture that it's often hailed as the catalyst for the then burgeoning genre of parent-based exploitation memoirs that followed. While it wasn't the inaugural work of its kind, brooke Hayward's Haywire proceeded it by a year, offering an intimate glimpse into her challenging life with parents Leland Hayward and Margaret Sullivan. But it was Mommy Dearest that truly captured the public's imagination and spurred a wave of similar memoirs. Christina Crawford's unflinching portrayal of her life under Joan Crawford's roof did more than just enthrall readers. It opened the floodgates for others to share their own stories of familial strife, setting a precedent for raw, revealing narratives that delve into the complexities of parent-child relationships, especially under the glare of the public eye.

Speaker 2: 12:02

The remarkable success of Mommy Dearest naturally caught Hollywood's eye Drawing the attention of Franck Yblons, a notable figure whose tenure as president of Paramount from 1971 to 1975, was marked by the release of cinematic giants like the Godfather, parts 1 and 2, chinatown Love Story and a CERBICO. In his last years at Paramount alone, the studio's films garnered an impressive 39 Oscar nominations. Following a reshuffle at Paramount, yblons transitioned to independent production in 1975, on the hunt for his next major project. It was then that Mommy Dearest piqued his interest. Demonstrating his keen eye for potential, yblons secured the screenwrites for $500,000 even before the memoir hit the shelves. In defending Christina Crawford's decision to share her harrowing experiences, yblons remarked in an interview. Christina chose to tell the painful truth about her relationship with her mother and instead of being applauded for her courage by the critics, she's being condemned. The main reason I want to make Mommy Dearest is because of the issue of child abuse, an issue which has been kept under cover for too many years.

Speaker 2: 13:27

In 1978, the cinematic journey of Mommy Dearest began, with Franck Yblons at the helm of its development. He swiftly initiated discussions with the renowned Italian director, franco Zephyrelli, considering him to steer the film's creative direction. Zephyrelli, having previously directed Fae Dunaway in the Champ, brought a unique vision to the table, one that promised to distinguish Mommy Dearest significantly from the film it eventually became. Zephyrelli's approach aimed to delve deep into the psychological aspects of the narrative, especially highlighting the challenges women face in the film industry. Through a more nuanced exploration of Joan's perspective, he articulated a desire to illustrate the metamorphosis of women into figures of immense strength, sometimes at the cost of their humanity. To thrive in a male-dominated environment Quote To survive a woman must become tough, often become a monster. I've seen it happen to two women to whom I served as friend, confidante and business associate. He noted referencing his relationships with Maria Magnani and Maria Callas. This comment hints at Zephyrelli's broader, albeit somewhat generalized, view of women's struggles within the industry, suggesting his version of Mommy Dearest might have offered a more layered portrayal of its characters and their motivations, diverging from the narrower focus. The final film presented To embody Joan Crawford on screen.

Speaker 2: 15:06

Frank Giblon's initiated discussions with Anne Bancroft, who resonated with Franco Zephyrelli's vision for the film. Bancroft, however, was hesitant to fully commit to the project, advocating for script revisions that would offer a more sympathetic or complex depiction of the legendary actress. The screenplay, it turned out, was a considerable obstacle for Giblon's, challenging him at every turn. The rotating door of writers involved in the project is, in hindsight, less surprising than it might initially seem. Initially, christina Crawford herself was brought on board to pen the screenplay, but dissatisfaction with her draft led Giblon's to seek out Robert Getchel as a replacement. Following Getchel, james Kirkwood, co-author of A Chorus Line, took a stab at the script without success. And then, in November 1979, a steamed writer, william Goldman, produced a draft. By April 1980, Tracy Hochner was brought in to work on the screenplay. Hochner's draft is accessible online, allowing some insights into his personal vision for the film, while the precise sequence of who wrote which version of the script and when remains unclear. Hochner's version appears to align with Zephyr Ely and Bancroft's ambitions to explore more thoroughly Joan's professional life and complexities therein.

Speaker 2: 16:39

The screenplay opens with a young Joan Crawford in Elby Mayer's office at MGM, where, in the first few moments, her breasts are fondled without permission by Mayer himself. Mayer then unilaterally decides her screen name, stripping her of her autonomy from the very beginning, as Anne Bancroft took her time deciding on the project, wanting more depth and complexity for Joan's character, franco Zephyr Ely eventually moved on to other endeavors. Frankie Blonds then approached another Frank indie director, frank Perry, known for his success with films like David and Lisa and Diary of a Mad Housewife, both penned by his then ex-wife, alan or Perry. Frank Perry's vision for Mommy Dearest veered towards a direct adaptation of the book, aiming to translate Christina Crawford's harrowing experiences into a cinematic format that was both truthful to the source material and engaging for audiences. Quote my job was to turn the whole thing into a movie that was not only faithful to the book we bought but also an entertainment. Perry reflected he was captivated by the book from the moment he read it. Seeing Christina as a deeply wounded individual, perry was convinced of the book's authenticity, committing to a portrayal that honored Christina's narrative.

Speaker 2: 18:02

While navigating the challenge of crafting a film that could entertain audiences, with Anne Bancroft's hesitance becoming increasingly apparent, she eventually opted for a role in the Elephant man. Instead, frank Yblons and Frank Perry began scouting for other potential Jones. Among the possibilities considered was Sigourney Weaver. However, discussion soon veered towards Faye Dunaway, an actress Joan Crawford herself had once praised. Crawford had identified Dunaway as the only up-and-coming actress with the potential to be a true star, a prophecy that seemed to be aligning with Dunaway's trajectory post her Oscar win for network.

Speaker 2: 18:45

Following her acclaimed performance in network, dunaway took on a variety of roles that, well commercially successful, didn't fare as well critically. This included the underappreciated eyes of Laura Mars and the disappearance of Amy, where she shared the screen with Bet Davis. Apparently, bet, however, wasn't a fan. Faye Dunaway was on the lookout for a role that could potentially earn her a second Oscar, a prestigious project that would reaffirm her status as a leading lady in Hollywood. The opportunity to portray Joan Crawford in Mommy Dearest, a film based on a bestselling book about one of the biggest movie stars ever, seemed too good to pass up. Despite the cautionary voices suggesting that playing Crawford might not sit well with an industry keen on protecting its legends, dunaway was undeterred. Her commitment to landing the role was nothing short of extraordinary. As reported by Michael Moustow in the Village Voice, dunaway didn't just express interest in the part, she embodied it. She meticulously styled herself after Joan Crawford and made a dramatic appearance at the home of producer Frankie Blonds. The effect was stunning. The Blonds was taken aback, confronted with the eerie semblance of Crawford brought to life by Dunaway's transformation. This moment may well have sealed the deal, proving beyond a doubt that Dunaway wasn't just suitable for the role she was inspired.

Speaker 2: 20:29

Dunaway and Crawford, though not typically considered similar in their choice of roles or screen personas, shared an undeniable connection through their commitment to their craft. Joan Crawford's on-screen persona was as fluid as the eras she traversed, skillfully adapting to the evolving landscapes of time and fashion. She famously encapsulated her own chameleon-like nature by saying quote I was a flapper in the Age of Flappers. I became a sophisticated lady in the Age of Sophistication. In contrast, faye Dunaway's cinematic identity was often grounded in the portrayal of dangerous and glamorous women, echoing the mystique of icons like Marlene Dietrich or Greta Garbo, rather than Crawford's varied repertoire. Yet despite their differing on-screen archetypes, the real-life similarities between Crawford and Dunaway made the latter's casting in Mommy Dearest feel serendipitous. Beyond their professional achievements, it was their shared personal narratives that forged a deeper connection. Dunaway, like Crawford, was driven by a formidable ambition. Their backgrounds were strikingly similar Both emerged from humble beginnings and fractured families, fostering an early independence and resilience that would become the bedrock of their careers.

Speaker 4: 21:51

Do you feel in any way a kinship to Joan Crawford? Is she anything like you are?

Speaker 1: 21:59

I feel an enormous kinship, enormous. You have to admire women with that sort of determination and that sort of desire. Then what you look at is what happened to her as a result of it, and how then did her life go on, and to what degree was she victimized by her own passions, by her own? What is a wonderful quality of hunger and a desire that everything should be wonderful and perfect? When, then, did it turn?

Speaker 2: 22:31

if it is not perfect and won't do, Faye Dunaway's connection with Joan Crawford's ambition and intensity was so profound that her reflections on Crawford might well be seen as an introspective commentary on her own character. Their shared drive imbued them with a distinctive energy and a formidable presence encapsulated in their self-assured gazes, a powerful tool in Dunaway's arsenal as she sought to bring Crawford to life on the silver screen. Similar to Anne Baincroft's earlier intentions, dunaway aimed for a portrayal of Crawford that veered away from the vilification seen in Mommy Dearest, the book. Her identification with Crawford extended beyond their parallel ambitions to a shared sense of injustice over the sensationalized narratives that had come to define Crawford's legacy. Speaking to the New York Times, dunaway expressed her frustration with the quote scandal books about Crawford, emphasizing her desire to reveal a truer, more nuanced story through the film Quote. That was one of the main reasons I wanted to do this movie. They are by far not the real story, dunaway asserted, challenging the portrayal of Crawford as a mere tyrant Quote. She achieved and while monsters do achieve great deeds, she wasn't one. Dunaway saw Crawford not as a monster but as a warrior, a perspective that resonated with her own experiences and view of the world.

Speaker 2: 24:06

By the time Faye Dunaway joined the project, the screenplay for Mommy Dearest was far from complete. The production would see a staggering 18 revised shooting scripts before it was all said and done. When Dunaway was on board, however, frank Yblons and Frank Perry decamped to Palm Springs where they hammered out a new version of the script in just 12 days. Filming kicked off in early 1981, and by May of that year Roger Ebert found himself on the Mommy Dearest set witnessing the intricate dance of art imitating life. He mused on the peculiar irony at play. Joan Crawford had devoted her life to crafting a public persona, only for this film to peel back the layers, exposing the very secrets she had sought to conceal. The decision to shoot on closed sets at Paramount hinted at the movie's controversial content and its lead actress' complex reputation. Indeed, faye Dunaway was known for her intensity on set, a trait that, during this production, led to significant tensions, including chronic tardiness, so disruptive that studio executives contemplated replacing her. The filming process was not without its physical challenges, particularly a scene so intense that co-star Diana Scarwin's safety was jeopardized. Moreover, ratania Alda, in her Tell All book, the Mommy Dearest Diary, carol Ann tells All, recounts a confrontation between Dunaway and costume director Irene Sheriff that ended with Sheriff in tears.

Speaker 2: 25:47

In an interview, frank Perry candidly shared the complexities of navigating behind-the-scenes dynamics during the production of Mommy Dearest, highlighting challenges primarily posed by two executive producers David Coontz, christina Crawford's husband, and Terry O'Neill, faye Dunaway's partner at the time, whom she later married. Coontz advocated for a portrayal of Joan Crawford as exceedingly cruel and abusive, pushing for extreme displays of violence in every scene. In contrast, o'neill insisted on softer representations, particularly concerning physical interactions with the children, to the point where Dunaway would refuse to perform scenes deemed too harsh. Perry's approach to these conflicting demands was to assert his directorial vision, albeit in a manner that, by his own admission, involved a direct dismissal of their concerns. Quote Gentlemen, get the hell out of my way. I've got a movie to make and I've got to make it the way I see it.

Speaker 2: 26:52

While Perry framed this as a tactful handling of the situation, the ongoing rumors of on-sent temper tantrums and production delays suggest the friction was far from smoothly managed. Faye Dunaway, in reflecting on her experience, acknowledged the immense personal and professional challenge posed by embodying Joan Crawford. In her memoir, she expressed her deep commitment to her roles. Quote I'll go all the way with something because that's how I work. This method-acting approach, while often advantageous in achieving authenticity arguably pushed her to the brink. In the case of Mommy Dearest, the intense requirement to channel Crawford's notorious hostility throughout a quote relentlessly packed screenplay took a toll, illustrating the fine line Dunaway navigated between dedication and the potential for losing oneself in a role as complex and demanding as Joan Crawford's.

Speaker 1: 27:52

But it had an enormous amount of extremity to it and where that is there are always passions and enormous feelings that are not manageable because they go out of control. So all those things had to be gone absolutely to the heart of in order to make any sense out of what happened between the mother and the daughter and what happened to the mother from my point of view on her own. It took me two months and I sort of timed it to really start to feel like myself again.

Speaker 2: 28:19

The infamous wire hanger scene from Mommy Dearest showcases not just the scene's extreme nature but also the physical and emotional toll it took on Faye Dunaway. Renowned for its intensity, the scene pushed Dunaway to her limits, resulting in her collapsing from exhaustion and causing significant damage to her vocal cords, which necessitated medical intervention from a specialist before she could resume filming. This moment epitomizes the blend of dedication and risk inherent in Dunaway's method acting approach, underscoring the fine line between compelling performance and personal well-being. Despite the tumultuous atmosphere on set, dunaway, Frank Yablans and Frank Perry maintained a belief in the film's potential to be an awards contender. They viewed Mommy Dearest as a powerful medium through which to engage Americans in a serious dialogue about the hidden agonies of child abuse. However, yablans' reflection on the film's essence hinted at a disconnect between intention and execution. Describing the film as a mixture of quote glamour, fantasy and tragedy, yablans inadvertently highlighted a critical concern Can a film that aims to tackle the grave issue of child abuse with the utmost seriousness afford to simultaneously court the tones of glamour and fantasy?

Speaker 2: 29:47

In the lead-up to the release of Mommy Dearest, paramount Pictures undertook a strategic marketing blitz. The studio endorsed the organization of Crawford movie marathons, encouraged revival houses to showcase their films and supported Crawford-themed festivals on television stations. This concerted effort not only reignited interest in Crawford's illustrious career, but also set the stage for introducing Mommy Dearest to an audience primed for a deep dive into the legend's more personal stories, particularly her stormy relationship with her daughter. Frank Yablans saw the essence of the film's marketing appeal encapsulated in its poster. His strategy was to leverage the iconic status of Joan Crawford as played by Faye Dunaway, highlighting the allure and sophistication that Crawford represented. Quote I decided early on to sell the gimmick of Faye as Joan because Joan was an elegant woman, a star, a legend and the illusion of perfection.

Speaker 2: 30:51

Yablans shared with the New York Times. He understood that the film's success hinged significantly on the audience's reception of Dunaway's portrayal of Crawford, acknowledging the pivotal role that Dunaway's performance would play in the film's overall impact. Yablans' insight underscored a crucial point the portrayal of such a complex, larger-than-life figure as Joan Crawford by another celebrated actress was more than just casting. It was the film's central draw. The campaign's focus on the glamorous yet tumultuous mother-daughter relationship, set against the backdrop of classic Hollywood's allure, was a calculated move. It highlighted the dual challenge Mommy Dearest faced doing justice to the intricacies of its subjects' lives, while captivating an audience with the promise of uncovering the hidden truths behind a Hollywood legend's facade. And well, oh boy.

Speaker 4: 31:52

For one of the most entertaining movies of the year, let's move on to one of the least entertaining and most painful movies of the year. The film is Mommy Dearest, starring Faye Dunaway in an unremittingly unpleasant portrait of movie star Joan Crawford.

Speaker 2: 32:04

Upon its release in September 1981, mommy Dearest met with skepticism from critics who largely disapproved of its execution. The critical consensus suggested that the film fell short in offering a nuanced portrayal of Joan Crawford, instead presenting a relentless sequence of dramatic and arguably exaggerated events, without sufficient context or insight into Crawford's character. The film's failure to explore the underlying reasons behind Crawford's harsh treatment of her daughter left audiences with more questions than answers, missing an opportunity to delve into the complexities of her personality and life choices. Janet Maslin of the New York Times critiqued the film for its lack of depth in portraying Crawford, arguing that while the film didn't need to idealize Crawford, it did need to provide her with more dimensionality to achieve any narrative coherence. This sentiment echoed the broader dissatisfaction with the film's approach to storytelling, highlighting a missed opportunity to explore the human behind the legend. Even Christina Crawford, whose memoir served as the basis for the film, expressed her disdain for the final product. Her disappointment was so profound that she had attempted to reacquire the rights to her book upon reviewing other script versions, signaling her disapproval of the direction in which her story was taken. Then the film's reception took an entirely unexpected turn, although the filmmakers intended to induce tears or gasps at the film's ostensibly harrowing depiction of child abuse. Mommy Dearest was playing, apparently to ruckus laughter across the country. Nobody was taking their very serious movie seriously. It turned out that laughing out loud to the likes of was exactly what the audience wanted.

Speaker 2: 34:50

Mommy Dearest made a splash at its premiere in New York City in September 1981, raking in over $750,000 and setting a record for the largest September opening in New York cinematic history, according to Paramount. This initial success hinted at the film's potential to captivate audiences, despite the critiques it faced. As the studio recognized the film's unique appeal, it shifted its marketing strategy from showcasing a portrait of Faye Dunnway as Joan Crawford to highlighting the now infamous wire hangers branding the film with the tagline the Biggest Mother of them All. This pivot in advertising struck a nerve with Frankie Blonds, who found the new campaign distasteful and offensive, leading him to file a $10 million lawsuit against Paramount. However, his legal action was ultimately dismissed in court.

Speaker 2: 35:48

Over the years, mommy Dearest has transcended its initial reception and the filmmaker's original intentions, carving out a distinct niche in pop culture. The film's enduring fascination lies beyond the realms of conventional cinematic critique or its adherence to the factual accuracy of Christina Crawford's memoir, its appeal actually taps into something far more elusive a combination of camp melodrama and the sheer force of its performances, especially Dunnway's portrayal of Joan Crawford, which has become iconic in its own right. In this light, evaluating Mommy Dearest and Dunnway's performance by traditional critical standards may miss the mark. The film's legacy is not so much about its quality in a classical sense, but about its ability to engage, provoke and entertain audiences in unexpected ways. Embracing Mommy Dearest for what it truly is, the quote citizen fucking cane of camp end quote opens up a unique lens through which to appreciate its place in cinematic history. By guiding our exploration through Susan Sontag's notes on camp, we can dissect the magnetic allure of this film, unraveling the layers that make it a fascinating spectacle for audiences. Camp taste revels in the essence of instant character, an attribute Mommy Dearest embodies with its larger-than-life portrayal of Joan Crawford by Faye Dunnway. The film sidesteps the nuanced development of character in favor of presenting Crawford in a state of perpetual intensity a quote continual incandescence. This approach aligns with Sontag's observations that camp appreciates character not as a journey but as a fixed, vibrant spectacle.

Speaker 2: 37:51

Mommy Dearest takes itself seriously, from its dramatic nature and narrative to its earnest performances. Yet it is precisely this seriousness that veers into the realm of camp. The film's earnestness, combined with its excessive elements, renders it an experience that teeters on the boundary between the serious and the absurd. Camp, in essence, transforms the solemn into the comically trivial, imbuing Mommy Dearest with a distinctive charm that captivates and amuses. Sontag describes camp as a specific sensibility toward style, a style characterized by an affinity for the exaggerated, the quote off and the transformation of the ordinary into the extraordinary. Camp perceives everything through quotation marks, suggesting a detachment from reality that invites viewers to see beyond the literal. It's not merely a lamp, for example, in a camp perspective, but quote a lamp, not just a woman, but quote a woman. This mode of perception underscores the concept of existence as performance, where every element in character in Mommy Dearest is not just playing a role but reveling in the artifice of that role.

Speaker 2: 39:15

Frankie Blonde's intuition about the pivotal role Faye Dunnway's portrayal of Joan Crawford would play in Mommy Dearest was remarkably prescient. Her performance, brimming with excess and theatricality, has been a focal point of the film's discussion. John Waters famously dubbed it quote the first drag queen role played by a woman a testament to its over-the-top nature which, while challenging to take entirely seriously, is undeniably mesmerizing. Dunnway's approach to Crawford amplifies every emotion and gesture to such an extent that it veers away from providing a realistic portrayal of the actress. Instead, she crafts a hyperbolic, stylized quote Joan, a character that may share little with the real Crawford's demeanor beyond her iconic makeup. This exaggerated depiction, however, has its own artistic merit, inviting viewers into a grandiose interpretation of Crawford's persona. Indeed, some critics found value in Dunnway's extravagant performance. Pauline Cale, in her review for the New Yorker, lauded the operatic quality of Dunnway's portrayal, likening it to quote hard-nosed Crawford drag. Cale highlighted the way Dunnway embraced the aesthetic of Crawford's vehement rejection of wire hangers, drawing parallels to the gothic flamboyance of whatever happened to Baby Jane. Faze Betrayal and Mommy Dearest earned her a truly unique place in cinematic history, simultaneously securing her a runner-up position for the New York Critics Circle Best Actress Award and the Razzie for Worst Actress in the same year. Truly a testament to the polarizing reception of her performance. The film itself was controversial enough to garner eight Razzie's Truly divided critical response.

Speaker 2: 41:16

Dunnway has candidly expressed her complex feelings about the role, revealing a mixture of negativity and recognition of her own efforts. Her main critique lies in the film's leading towards camp, which she views through a lens of traditional criticism, finding it derogatory and a misrepresentation of the story's core human drama, quote. It became camp. It wasn't brought into a vision, she has said, lamenting the shift away from exploring the nuanced relationship between Joan Crawford and her daughter to a portrayal she deems almost caricatured.

Speaker 2: 41:53

In her memoir, dunnway reflects on the film's campiness as an exaggeration that lost sight of the story's heart, leaving the production feeling quote out of kilter and quote off-center. Despite these challenges, she acknowledges the strength of her performance, marred only by the absence of quote, the modulation of a good director. Dunnway emphasizes the actor's role in delivering their best regardless of the film's direction, while also noting that the ultimate tone of a movie lies in the hands of its director and producers. If the intention was to make a serious film about stardom and child abuse which, as we've learned from Dunaway, yablons' and Perry's quotes, it was then directorial intervention could have helped tone down many of the film's campiest moments. Even Joan Crawford herself knew that.

Speaker 3: 42:48

Well, wolf, I don't think anyone starts out thinking they're going to make a bad picture. They're hoping that the director they choose, the producer, the writers and everyone who works on the set with them will offer a bit of advice and help to overcome the weaknesses and there are weaknesses in every script, in every story, like your child, but child has weaknesses.

Speaker 2: 43:14

Faye Dunaway's reluctance to fully embrace her role in Mommy Dearest and its subsequent camp status reflects a complex relationship between an artist and their work, especially when public reception diverges sharply from personal and professional intentions. Despite the roles, polarizing nature and the film's recognition and reception, dunaway has to date stopped short of acknowledging her part in steering the film toward its over-the-edge camp acclaim. There's a certain melancholy in Dunaway's open regret for her involvement in Mommy Dearest. The performance, regardless of its intent, has found a devoted audience that cherishes it for its extravagant expressiveness and the sheer entertainment it provides. One can imagine an alternate reality where Dunaway might celebrate this unexpected legacy with humor and grace, perhaps even participating in the film's celebration alongside its fans, who would undoubtedly relish the opportunity to recite lines with her at special screenings. Christina Crawford herself has come to terms with the film's unique place in the cultural lexicon, acknowledging its camp classic status and the humor it has inspired among audiences. In an interview with Salon, she expressed a recognition of the film's impact, preferring to engage with it through a sense of humor rather than resistance. Quote I've certainly heard the jokes and seen the cards. This is a way of saying that I understand Far better than my sense of humor should also be engaged. She stated Faye Dunaway's approach to Mommy Dearest and her subsequent discomfort with its reception is deeply rooted in her artistic and ethical convictions.

Speaker 2: 44:57

Having set out with the intention to humanize Joan Crawford, a figure, dunaway felt a profound connection with Her. Commitment to the role was fueled by a desire to reveal the complexities and vulnerabilities of Crawford's character. As a dedicated method actor, dunaway sought authenticity and truth in her portrayal, aiming to offer a nuanced understanding of Crawford beyond the scandalous headlines. The outcome, however, veered sharply from her aspirations. The film's portrayal and Dunaway's performance inadvertently amplified the vilification of Joan Crawford, contributing to a legacy that Dunaway had hoped to counterbalance. The realization that her portrayal not only failed to humanize Crawford but also became a subject of nationwide parody for its perceived exaggeration was understandably a difficult pill to swallow. This dissonance between Dunaway's artistic objectives and the public's reception likely felt like a betrayal of her principles and efforts. Describing the situation as akin to a quote murder, suicide captures the profound sense of entanglement and mutual destruction between Dunaway's portrayal and Crawford's posthumous reputation.

Speaker 2: 46:16

Mommy Dearest not only altered public perceptions of Faye Dunaway but also had tangible repercussions on her career trajectory. The film pushed Dunaway's established screen persona of the glamorous and dangerous woman to such an extent that it began to detract from the gravitas and complexity she had previously brought to her roles. This shift posed a significant challenge to the professional identity she had meticulously cultivated over the years. Dunaway herself has acknowledged the impact of Mommy Dearest on her career, noting quote I never compromised the acting in playing Joan, but I think the film ultimately did compromise my career. This sentiment was echoed in the media, with Diane Hatheman in the LA Times suggesting in 1994 that Dunaway was quote unofficially relieved of her movie stardom crown in the aftermath of the 1980s. David Denby's assessment in the New Yorker was even more forthright, stating quote Mommy Dearest finished her career as a star.

Speaker 2: 47:20

The consequences of Mommy Dearest extended beyond critical and public reception. Dunaway's subsequent move to the UK and her choice to take on smaller, less prominent roles reflect a strategic retreat from the limelight and recalibration of her career in response to the film's fallout. This period of laying low coincided with a challenging time for actresses in Hollywood, particularly as Dunaway had just turned 40, a notoriously difficult age for women in the industry due to pervasive ageism. Furthermore, her reputation for being challenging on set, combined with what was perceived as quote the worst performance of her life occurred just as a new gender and her career was a new type of career. The performance of her life occurred just as a new generation of actresses like Meryl Streep, glenn Close and Jessica Lange were rising to prominence.

Speaker 4: 48:13

But did you have a pass on a role that you regret to bestave? Why did I do that?

Speaker 1: 48:18

Even then, wouldn't it be made by someone else? Yeah, A few longings along the line. The one I guess that people would know most is Francis Farmer which Jessica Lange played, but I didn't want to play another crazy movie star you just sent Mommy to her. Is that right after? Oh yeah, I don't get that. Still trying to live down.

Speaker 2: 48:36

Faye Dunnway's return to Hollywood was characterized by a discernible shift in her choice of roles and her approach to her career. In an effort to reclaim agency over her professional path and to diversify her portfolio, dunnway took the bold step of buying and producing her own projects. This included films like Cold Sassy Tree and Masterclass, for which she still holds the film rights. These endeavors reflect her desire to explore a broader range of narratives and characters, moving beyond the confines of her previously identified image.

Speaker 2: 49:13

In a notable departure from her established glamorous persona, dunnway took on roles that required her to de-glam significantly. Films such as Barfly and Don Juan de Marco saw her stepping into a more raw and unvarnished character, a move that showcased her versatility and commitment to her craft. These roles allowed Dunnway to demonstrate her range and depth as an actress, challenging audiences to see her in a new light. Dunnway's foray into comedy marked another significant pivot in her career. Despite being known for her intense and dramatic roles, she embraced the comedic genre, including a stint in a short-lived sitcom. Although this venture into television comedy might not have achieved mainstream success, it is still available on YouTube for viewers to appreciate Dunnway's willingness to experiment with different forms of expression and to not take herself too seriously.

Speaker 1: 50:13

Albert, if I had a dollar for each time you threatened to kill yourself when you were late finishing a book, I could buy enough coffee to wake up Truman Capote and have him write it.

Speaker 2: 50:24

In the wake of Mommy Dearest Faye Dunnway faced a unique dilemma. The intensity and conviction of her portrayal of Joan Crawford led to an unintended blurring of the lines between actress and character in the public's perception. Initially, dunnway had emphasized the similarities between herself and Crawford to connect more deeply with the role, but the aftermath of the film compelled her to recalibrate her public persona. Dunnway's concerns about being typecast or mistaken for the traits she displayed as Crawford were not unfounded. Her performance was so convincing that it sparked conversations and speculations about how closely Dunnway's own personality mirrored that of the formidable Joan Crawford. This association was further complicated by Dunnway's reluctance to engage with the media. Her infrequent, in-frequent indifference in the film's context was a infrequent. Interview's left a void that was filled with conjecture, reinforcing the notion that Dunnway herself might possess the same quote, icy, remote, manipulative and even dangerous qualities she so adeptly portrayed on screen.

Speaker 1: 51:33

I might take Crawford back, but I really wouldn't because I did like her so much. The only reason is because she was 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 work in the industry and the audience to associate, to think you're like the parts you play. There wasn't a lot of chance in the film for the softness or for the light side of me, the intelligent side of me, the gentle side of me, the generous side of me. But I liked her the least because I felt uncomfortable being identified with her. I felt uncomfortable with her as a part of my persona, which of course, she became just to some degree.

Speaker 2: 52:24

And unfortunately it's true. The intertwining legacies of Faye Dunnway and Joan Crawford find a fascinating illustration in Alyssa Edwards' performance on Snatch Game of RuPaul's Drag Race. This instance exemplifies how Dunnway's portrayal of Crawford in Mommy Dearest has become a touchstone for both figures, merging their personas into a singular cultural icon that transcends each of their individual identities. Edwards' portrayal captures the iconic visual trademarks associated with Crawford the exaggerated lips and eyes alongside the sleek architectural hairstyle, paying homage to Crawford's enduring influence on glamour and style. Yet the dialogue Edwards chooses to embody doesn't draw from Crawford's illustrious filmography, such as Mildred Pierce or whatever happened to Baby Jane. Instead, it pulls directly from Mommy Dearest, specifically echoing Dunnway's memorable lines from the film Ladies and gentlemen, the legendary Joan Crawford how are the kids, joan?

Speaker 1: 53:34

I'm deliberately trying to embarrass me in Fonety's report. Oh, I've thought words monsters for years in Hollywood. Yes, I know.

Speaker 2: 53:43

Barbara, please.

Speaker 1: 53:49

Don't fuck with me, fellas.

Speaker 2: 53:54

This choice highlights a fascinating layer of performance. Alyssa is channeling Crawford not through the lens of her own storied career, but through Dunnway's interpretation of her in a very specific role. This meta performance, where Alyssa enacts a drag version of Faye Dunnway's own dramatic portrayal of Joan Crawford, underscores the complex ways in which Crawford and Dunnway's images have melded in the public consciousness. Dunnway's Crawford is not merely an act of mimicry, but has become an indelible part of how Crawford is remembered and celebrated, particularly within the context of camp and drag culture. The lines between actress and character blur, creating a hybrid identity that speaks to the power of performance, the durability of cinematic legacy and the unique ways in which art imitates life and vice versa. While Faye Denoway's concerns about Joan Crawford merging with her own persona are valid, the stark reality remains that it was Crawford's name, not Denoway's, that bore the brunt of the mommy dearest legacy. For Crawford, the portrayal in mommy dearest wasn't just a cinematic role but a public airing of her personal life, transforming her legacy in profound and complex ways. Prior to the film's release, joan Crawford's reputation was already a tapestry of Hollywood glamour and personal controversies, including high-profile feuds, multiple divorces and her unwavering loyalty to Pepsi, a company she had become associated with through her marriage to Alfred Steele, a Pepsi executive. Her later film choices, often criticized as exploitative attempts to maintain relevance, also contributed to a mixed public image. Yet mommy dearest crystallized and intensified public perception of Crawford in ways she couldn't have anticipated or countered. In the aftermath of the film, crawford's persona was distilled into a series of pejorative labels that often veered into ableism and misogyny. Terms like quote, dictatorial, harpy, ugly, old witch and various iterations of monster became shorthand for Crawford, overshadowing her accomplishments and complexity as an actress and a person. This reductive portrayal contributed to Crawford becoming synonymous with the archetype of quote bad Hollywood parent, a reputation that has proved sticky and enduring. To me, labels like monster don't do very much to understand anything about abuse or how it perpetuates On this episode.

Speaker 2: 56:43

We've talked a lot about how cunningly Joan Crawford navigated her career and managed to outlast some of her peers with her extraordinary will to survive. But the battles she waged to escape the abject poverty of her childhood and to achieve what she did professionally came with sacrifices and consequences. In competent hands, her story could be a heartbreaking faustian drama that would expose a terribly flawed and scarred but resilient and intuitive human being. But Mommy Dearest, isn't that? But I'd wager it's what the average person knows about Joan Crawford today, if they know anything at all. Still, I think no understanding of the cultural influence of this film would be complete without taking a look at the communities who have embraced it the most.

Speaker 2: 57:33

Joan Crawford's connection to the LGBTQ plus community, particularly gay men, has long been part of her legacy, a reputation that she herself recognized and appreciated. Her appearance at the Legendary Ladies of the Screen event in 1973 at Town Hall in New York City highlighted this connection. Noting the predominantly homosexual composition of her audience, crawford expressed her affinity and camaraderie with the LGBT community, even if she couldn't fully articulate the reasons behind their mutual affection. The release of Mommy Dearest in 1981 marked a pivotal moment in the relationship between Crawford's legacy and her gay fans. The film, with its campy delivery and exaggerated emotional scenes, naturally lent itself to becoming a cultural artifact within drag culture and beyond. The depiction of Crawford and Mommy Dearest became a source of inspiration for performances that celebrated and critiqued the film's portrayal of her. Daniel Harris' account of New York City drag queen's dressing as Joan Crawford and playfully enacting scenes from the film captures the creative ways in which the queer community embraced and transformed Mommy Dearest into a cultural event. Paul Festa's reflections for Salon on the film's appeal to gay audiences further illuminate the unique ways in which Mommy Dearest resonates with the queer culture. He suggests that the film creates an alternative moral universe, one that invites viewers to engage with its drama through a lens of camp sensibility and humor. This collective experience of watching Mommy Dearest, particularly amongst gay men, is likened to an energetic and jubilant gathering where the lines between antagonists and protagonists blur amid shared laughter and camaraderie.

Speaker 2: 59:27

I want to dive into a theory I have about why gay men are particularly drawn to iconic female stars, beyond just the likes of Myrna Loy or Carol Lombard. It's about the special connection to the likes of Joan Crawford, bette Davis, liza Minnelli, judy Garland, marilyn Monroe, and the list goes on. Here's my take. Gay men in many ways live as the other in society, living a world where they're often on the periphery, in a patriarchal society. Women share this experience of being the quote other. So there's this natural affinity, a sense of kinship. And when these women also embody extraordinary talent, beauty, vulnerability or allure, they become even more relatable to someone accustomed to living outside the norm, like Natalie Wood, for example, a story we'll cover in depth on this podcast very shortly. She was beautiful, sexy, vulnerable and immensely talented. Joan Crawford too, with her commanding presence and undeniable talent, though different from the likes of Uta Hagen, bette Davis or Meryl Streep, 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 interesting cultural shift in the 1960s, epitomized by whatever happened to Baby Jane. This film, showcasing a radically different Joan Crawford, mirrored larger societal changes and perhaps even the gay community's own reflections on aging and relevance. It's a complex dance of identity, representation and the passage of time. There's this oscillation between parody and profound love for these iconic figures, revealing a rich tapestry of admiration, identification and reflection.

Speaker 2: 1:01:33

I've always had a soft spot for Joan Crawford. To me, she stands alongside Judy Garland, marilyn Monroe and Elvis Presley as one of the tragic figures of American entertainment. Unlike them, her struggles weren't played out in the tabloids due to public drug addiction. Crawford's battles were fought behind closed doors, making her story all the more intriguing and perhaps misunderstood. The TV series Feud captured this aspect of her life beautifully in its final episode, reaching depths that mommy dearest somehow missed.

Speaker 2: 1:02:11

Carl Jonas, who worked at Columbia Pictures in the 70s and became close with Crawford, penned a revealing book about her later years, and there's this poignant moment where Crawford confesses, quote I realized recently that I don't really know exactly who I am. I've been playing all these roles and they're a part of who I thought I was, but now I realize I don't know who I am. This revelation strikes a chord with me. It's a stark reminder of the cost of conforming to and excelling within a system that ultimately might not care about your well-being. Joan Crawford's journey from a near-starving chorus girl to a celebrated star under the bright lights of a major movie studio must have been intoxicating to watch. The glamour, the excitement. It's understandable why she was drawn to it, why she embraced it, but her reflection in her later years offers a profound insight into the personal costs of such a dazzling public life. There's this universal truth there you can follow all the rules, play the game to perfection and still find yourself searching for your true identity amidst the roles you've played.

Speaker 2: 1:03:32

Crawford's story, as tragic as it is compelling, is a painful reminder of the delicate balance between our public personas and our private truths. And so we've traversed this delicate line between camp's extravagant humour and its profound darkness that is echoed in this film, a line that, oddly enough, feels like home to so many of us. Thinking about camp, especially through the prism of mommy dearest, I can't help but marvel at its unique power. It's this incredible balancing act. On one side, you've got this over-the-top, almost absurd humour that somehow makes the dark themes more approachable, and on the other, there's this undeniable darkness, a kind of pain and struggle that's just as real as anything. Yet here we are somehow finding comfort in both Reflecting on the film's darker elements, its portrayal of abuse, the quest for identity. It struck me that acknowledging these darker aspects of its creation don't make us love the film any less. If anything, it makes our connection to it deeper and more meaningful.

Speaker 2: 1:04:51

Mommy dearest isn't just the citizen fucking cane of camp for its entertainment value alone. It's a sounding board for the complexities of the human experience, wrapped in the extravagance of camp, inviting us to look closer to feel even more deeply. This film, with all its flair and shadows, holds up a unique lens to the world, a world where the line between tragedy and comedy is thinner than we might like to think, and perhaps that's what draws us in the way it captures the absurdity and the beauty of life all at the same time. So as I reflect on our journey through the legacy that Mommy dearest has woven, I feel a sense of gratitude For Joan, For Faye, for the film itself. They've given us something truly special A space where we can embrace the full spectrum of our emotions in full, vibrant, technical, where we can find laughter in the darkness and reflection in the excess. And it reminds me of the strange, wonderful comfort found in the world of camp, where every extreme emotion and every lavish gesture feels somehow like it belongs to us all.