Grey Gardens

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 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!

I remember vividly walking through the living room one day in the late 90's when my roommate was chuckling at the documentary GREY GARDENS on the Sundance channel. My eye immediately caught the images of Big and Little Edie in the yellow room and I became involved watching it too. Something about this little documentary just drew me into it. Yes, it was funny, but the humor was also mixed with feelings of horror and pity. I remember feeling a bit uneasy watching these women. One confined to an uncomfortable bed and the other confined to her shattered dreams of unrealized stardom. Both seemingly stuck in a dilapidated house in bad need of repair. What I find beautiful about the documentary is how it questions ones own perception on what "wealth" is. The documentary has that "never judge a book by it's cover" / "things are never quite what they seem" aspect to it. The greatness of the documentary is the message that "real" wealth in life comes in different forms, not just perceived material possessions. The outside doesn't necessarily reflect what's going on beneath the surface. After several viewings of the documentary, it's impossible to have pity for big and little Edie. They had wealth where it counted, in humor, intelligence, feeling, character and for each other.

GREY GARDENS with Drew Barrymore and Jessica Lange is a beautiful and deeply moving tribute to a couple of women whose lives might have been forgotten if it weren't for a couple of documentary filmmakers. Handsomely directed and paced by Michael Sucsy, the film resonates so many feelings that only the hardened will not be moved.

At times it is difficult not to compare and judge the performances of Lange and Barrymore with the real Big and Little Edie Beale, especially for those of us overly familiar with the documentary. Oddly enough some of the best scenes in the film are in the early years. If in moments Lange and Barrymore fail to completely live up to an exact interpretation of the Beales, they immediately redeem themselves with the conviction, understanding and love they have for the women and the material. The performances by Lange, Barrymore and Jeanne Tripplehorn will move and surprise you. The film honors, respects and celebrates it's subjects and like the documentary, it touches something deep down.

It reminds all of us that wealth comes in different forms and that true wealth is the loyalty two people can have for each other.

Not sure why it took me so long to view this film (I rarely watch made-for-cable-television films, so that explains that.) I've seen the documentary a number of times and always came away from it wishing I would have had the opportunity to meet the Edies and, particularly, little Edie. I can't explain it, but there's just something so marvelously endearing about her. She should have been a "somebody" other than just being Jackie O.'s cousin.

Watching the 1975 Maysles record of the closing days of Grey Gardens always sets me to thinking, perhaps too much, about what I saw play out between my own deceased mother and grandmother. It always takes me a couple of days to shake that film loose.

I watched the documentary, again, three days ago. Tonight I watched the film--is there a genre known as augmented documentary? The augmented documentary floored me. In particular, Barrymore's performance is stunning. She IS little Edie! I know the documentary very well, all the "classic" lines; and, Barrymore's delivery of them was like...well, watching little Edie in the documentary. Yet, seeing more of the Beales' past played out in rich detail connected so many dots for me (e.g. the very special gift given to Edith by Krug that figures prominently at the film's end.)

At the film's end, I was sorely missing my mother. She was the little Edie in my life; and, she would have loved this film. My grandmother, or big Edie, would have loved it, too. Thankfully, furniture covered with plastic and strict rules about animals in the house (never cats, and only the occasional small dog not allowed in bedrooms) kept the living arrangement tidy; but, the big Edie and little Edie dynamic was all there. So much laughter, so many tears, so much love and so much dislike. This film captured it all for me. Perhaps, to really appreciate it, one needs to have lived it to a certain degree. If one hasn't, I can see where the film might come across less than excellent.

9/10 stars from me and only because the film didn't incorporate "The Marble Faun" eating corn with big Edie; and, I missed little Edit remarking on her "revolutionary" dress for the day.