Grey Gardens

I have NEVER publicly commented on a feature performance until now. Having seen the 1975 documentary about Edith and Edie Beale, I was absolutely blown away by the exacting performances--especially Drew Barrymore. I noticed a few comments dissing the film and it's rather obvious these people don't know the storyline. Jessica and Drew WERE their characters to perfection--a not-so-trivial accomplishment. I knew Lange could act but Drew perhaps has certainly lived up to her family lineage!!! ! Take it for what it's worth: this is a non-fiction account of a most dysfunctional family, parental control, character disorders, being a victim, and reluctant realization of unfulfilled dreams. Little Edie, with all her psychiatric shades, is accurately portrayed by Drew Barrymore. Jessica Lange as the spoiled, controlling mother, sort of sums it all up by telling her daughter that she's not easily likable or attractive with "...Edie ... you are more of an acquired taste". Yet, the bizarre paradox of their relationship is simple. Edie is filled with too much fear to go out into the world and the two really need each other. Call it pathological complementarity. This film works at every level!

The psychological exploration of the Maysles' film of Grey Gardens was riveting, disturbing, entertaining, but ultimately confusing. Who in the world were these colorful-sad women, living in genuinely shocking conditions. Were they mentally ill--was it a put-on--there were so many missing pieces--that those of us who saw the film in the 70s have always remembered this strange sad tale--a sort of benign "Whatever Happened to Baby Jane" kind of tale of lost souls--lost to the world, lost in their own memories and (to us) bizarre fantasy world.

The HBO film fills in many of the pieces--with heartbreaking detail. Jessica Lange and Drew Barrymore are nothing short of astonishing in their reincarnation of this tragic mother and daughter duo. We see their elegance, their fragility, the tricks that life played on them--with vivid detail. The easy fluidity between the past and the present makes for a riveting drama that resonates almost as much as the original documentary. But there is a difference--in the documentary, there was much more humor--Big Edie and Little Edie were characters, and you felt sorry for them--yet you really noticed their resilience and delight at life. Yes they were caught up in the past with their obsessive dwelling on events from that distant golden age of their's--but they also seemed to relish their relationship, their day-to-day coping, their ice cream, their animals--it was really not THAT sad! The movie is much more heartbreaking--because we see the glamorous lives they led--and the contrast with the emptiness of their final denouement in Grey Gardens feels overwhelmingly sad. We suspected that especially Little Edie was mentally ill in the original--delusional--paranoid. In the film, there is no doubt. She was helpless from the beginning.

Pieces have been filled in--but there are still empty pieces that abound--the role Little Edie's brothers had or didn't have in their lives, how the wealthy relatives so completely ignored or were unaware of their living conditions--why the Edies so completely retreated from the "real world" when people with much more heartbreaking situations (and much less of a moneyed background) can not only cope but overcome---these are all still mysteries which will probably never be answered--can only be speculated upon--and which will allow "Grey Gardens"--both the documentary, and now the film--to retain an enduring mystique and fascination.

Playing the squalor-ridden, self-deluded Edith 'Little Edie' Bouvier Beale, Drew Barrymore is a revelation. In this dramatization of events surrounding the filming of the 1975 cult documentary "Grey Gardens", Jessica Lange's Edith, Sr. and Barrymore's Edie have a marvelous rapport as high society mother and daughter who fall on financial hard times. Cousins of Jacqueline Kennedy, the Beales--tucked away for years in a seaside house in East Hampton, New York--were a portrait-perfect example of missed opportunities, squandered dreams, and a freaky sort of lazy optimism that bordered on ridiculousness. They let their water and power lapse, their animal-infested home rot away, until cousin Jacqueline came to their rescue in 1971 and helped to fix the place up (and save the twosome from eviction). Lange withers away in frighteningly real fashion, while flirtatious Barrymore carries on as if every day is New Year's Eve. Both performances are spot on, though this is certainly Drew's shining moment as a serious actress; nailing the cadence of Edie's voice, her slouch and boxy walk, not to mention her high-on-life spirit, Barrymore is very funny and touching. The film goes back in time to give us a peek at how the Beale women managed to get to such a low point in life, and while the narrative is condensed and at times restricting, the pacing of the cable-made film seldom lags (as the original documentary did). It's a thoughtful movie about dreams so easily dashed, and the unforgiving price we pay for living in the past.

In 1973, brothers Albert Maysles (Arye Gross) and David Maysles (Louis Ferreira) arrive in East Hampton, NY to do a documentary about mother and daughter Edith 'Big Edie' Ewing Bouvier Beale (Jessica Lange) and Edith 'Little Edie' Bouvier Beale (Drew Barrymore) living in the rundown Grey Gardens estate. Little Edie's famous cousin Jacqueline Kennedy Onassis (Jeanne Tripplehorn) used to visit during the summer. In flashbacks starting in 1936, Little Edie simply wants to be a famous dancer. Big Edie wants her to find a husband with a long leash. Her father Phelan Beale (Ken Howard) wants someone to take care of her. Instead, she's in New York sleeping with married Julius 'Cap' Krug (Daniel Baldwin). Phelan leaves Big Edie. Little Edie starts losing her hair and gets pulled back home by Big Edie. When Phelan dies, Big Edie refuses to sell Grey Gardens with only a small trust that can't maintain the estate.

The acting is excellent. Lange is never wrong and Barrymore does a nice job in her older role. The women's story in their earlier days is not quite dramatic enough. It is their older selves where their compelling characters become truly dramatic. The years of disappointments and their old wounds make them great characters. Their scenes with Jackie is terrific. Their relationship is built on years of unfulfilled wishes and faded glory.

I was stunned by the uncanny accuracy of the scenes related to that original film; the set and prop reproductions, the re-enactment of scenes from the documentary, and the make-up and costuming of Barrymore and Lange is simply stunning.