Girlfriends

Imagine a Woody Allen movie from the female perspective, without Allen's charm and wit. Imagine also a comedy/drama movie without the comedy element, or something like that. I can't find a better description for this. To be more specific and accurate, this is still a good movie, it's clever, real and honest. Problem is, it's "too real". At times, it looked like a documentary. And there is zero charisma in these actors. Still, one can say that they are real people and prefers it that way. This is a slice of life and anyone who likes 70's, is gonna enjoy it. Human relationships in a 1978 New York. Not something fancy or memorable, not a big love ending on a big tragedy. Just normal people and their struggles. It was ok.

In "Girlfriends," first-time writer-director Claudia Weill created a compelling depiction of a woman look at a woman growing, awkwardly and not without pain, into her adult life--that is, the life of an independent woman and artist in New York City. This film also offers what is inarguably one of cinema's most honest and insightful looks at the complex bonds between women, detailing with extraordinary sensitivity (and bits of quirky humor) the shifts, both small and seismic, that occur when one of the halves of a sustaining heterosexual female friendship effectively "leaves" to get married. The cinema verite quality one finds here may be in part a reflection of the tight budget and inexperience of a novice filmmaker, but it also gives the film an utterly compelling texture, something of the raw, uneven fabric of real life. Melanie Mayron (later "Melissa" on the ABC-TV series "ThirtySomething") gives an earnest, convincing, and touching portrayal of budding photographer Susan Weinblatt, a twenty-something woman learning to find her balance, to be true to herself, navigate a welter of complicated relationships, to deal with both loneliness and intimacy, and to come into her own as an artist. The film includes wonderful turns by Eli Wallach, playing the rabbi who oversees the bar mitzvahs Susan photo, and Viveca Lindfors as a New York gallery owner.

I came across Girlfriends after reading a list of Stanley Kubrick's favorite films, and he rightly called it 'wonderful'. Shot in New York in the late 70's, when master filmmakers such as Cassavetes, Scorsese and Woody Allen ruled the cities screens Weill's film went largely ignored and her brilliant lead actress never went on to make another film except for a small role in a B sci-fi thriller.

There is an obvious kinship between Weill's style and that of Woody Allen - the nervous Jewish humor, the wit and sharp dialog, but Girlfriends omits the irony and stands on its own as a singular, intelligent story of friendship and troubled relationships told from a uniquely female perspective.

Sadly it is very hard to see this film today, No streaming service carries it, and Kim's New York just shut its doors for good. I bought a poor transfer on DVD. I hope Criterion gets around to it one day, because it is truly a wonderful film.

Although several reviewers state that that this film is very difficult to find or view, it is included in Turner Classic Movie's extensive library, so it should turn up there from time to time. I highly recommend "tcm on demand" which allows viewers a specific time frame in which to see films, and, thankfully, tcm has expanded these time periods for many, but not all, of the films.

Having personally experienced the New York City singles scene for a very brief period of my life during the 1980's, not a very happy time for me, I admit that I was not inclined to watch this film based on the description alone, but I was pleasantly surprised by the complexity of the characters, their relationships, and the quality of the acting. The only reason why I was drawn to it was to see Eli Wallach in the unexpected portrayal as a rabbi, not knowing that this was not his only appearance in a movie as a rabbi. I have only known him as sleazy, unsavory characters, roles which he mastered beautifully on many occasions. As it turns out, Rabbi Gold does not guide the spiritual fulfillment of the central character, Susan Weinblatt (Melanie Mayron), as much as providing her with a livelihood as a photographer of life events and, eventually, the promise of a risky, romantic relationship, at least for a moment. This is not at all the rabbi that I expected, and I would have liked more Wallach as his role was not very prominent in spite of his high billing.

Both Mayron and Anita Skinner produce fine performances. I couldn't, however, appreciate the male characters, who were very disagreeable to me, perhaps not by accident. Mayron's memorable film debut occurred four years earlier as the young, free-spirited hitch-hiker in "Harry and Tonto", a very different person than Susan Weinblatt, which attests to her excellent acting skills.

This movie set in 1978, is a wonderful analysis of women's relationships with their friends and how relationships with men can change their relationships with each other. It is subtle and nuanced and emblematic of the independent films of the 1970's.

Claudia Weill was a women who tried to get into that very exclusive circle of directors which are very male. When this movie was made it was considered to be the first of many such independent films by women to try to climb that fortress.

The acting of Amy Wright and Melanie Mayron at the time felt like it wasn't acting at all. Since they were both unknowns, you felt like you were snooping into someone's personal lives rather than watching two actresses go through a script.