There are no meaningful attempts to try and find the people behind the facades, or the causes of Joan Crawford's clearly distressed behaviour. The script (co-written by Perry, producer Frank Yablans and others) consists of nothing but trite stock lines of dialogue that never come close to sounding real, and the film, painfully overlong at over two hours, just kills time between the episodes of abuse. For all the attempts to portray Hollywood glitz and glamour, the production just reeks of cheap television values.
The results are harrowing incidents of physical and emotional attacks which continue even as Tina matures into an adult.ĭirected by Frank Perry and based on the tell-all book by Christina Crawford, Mommie Dearest looks, sounds and just feels cheap. She has no understanding of what it takes to be a mother, and unleashes regular torrents of abuse on young Tina. Self-centred and egotistical, Joan places herself in the spotlight of her own world, suffers from wild mood swings, has strong hang-ups about cleanliness, and allows her career frustrations and disappointments to spill into her home. Twice divorced she longs for a child, and her lawyer friend and lover Gregg Savitt (Steve Forrest) helps to arrange for the adoption of a girl (played as a child by Mara Hobel and as a young adult by Diana Scarwid). It's the late 1930s and MGM star Joan Crawford (Faye Dunaway) is at her commercial peak. The film has all the quality and thoughtfulness of a sleazy made-for-TV hack job.
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Our favorite scene: Joan Crawford dazedly replacing her ailing daughter in the cast of a daytime TV soap opera.A trashy biographical drama, Mommie Dearest reveals Joan Crawford's home life as a train wreck of abuse and narcissism, with adopted daughter Tina the primary victim. Surprisingly, one emerges from Mommie Dearest with more sympathy for the monstrous but intensely vulnerable Crawford than for her whining daughter (played as an adult by Diana Scarwid, and as a child by Mara Hobel).
This is the film with the notorious "wire coat hanger" scene, just in case you need a reminder. According to the film (and the book that preceded it), Joan Crawford was a licentious, child-beating behemoth, who stalked and postured through life as though it was one of her own pictures-more Strait-jacket than Mildred Pierce. The 1981 film version of this tome was evidently meant to be taken seriously, but the operatic direction by Frank Perry and the over-the-top portrayal of Joan Crawford by Faye Dunaway (whose makeup is remarkable) has always seemed to inspire loud laughter whenever and where-ever the film is shown. When her adoptive mother Joan Crawford died in 1977, erstwhile actress/author Christina Crawford and her brother Christopher were left out of Joan Crawford's will, "for reasons which are well known to them." Industryites have suggested that it may have been this posthumous act of rejection rather than an alleged lifetime of parental abuse that inspired Christina Crawford to pen her scathing autobiography Mommie Dearest.
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