The designs and the cinematography also clash in an incredibly bizarre way. No matter what Dunaway does with it, she can NEVER seem less than wildly overwrought in comparison to the rest of the cast, and the effect is very peculiar indeed. This must have seemed like a good idea in theory, but it proves a terrible mistake in actual fact. But it would seem Perry sought to heighten the effect: the rest of the cast is extremely, extremely restrained. Joan Crawford was a larger-than-life personality the role is written to reflect this Dunaway plays the role as it was written. Infamous lines such as “No More Wire Hangers Ever,” “Tina! Bring Me The Axe,” and “I’m Not Mad At You, I’m Mad At The Dirt” have become a staple of every drag queen from Maine to California.īut the ultimate disaster here is director Frank Perry. This is particularly true of the dialogue assigned to Dunaway. The most obvious is the script, which is extremely inconsistent in quality and yet perversely consistent in a style that can only be described as soap opera hot-house to the nth degree. Seen today, it is easy to identify the core problems of the film. Whatever the case, Dunaway quickly developed a strategic silence about the film that she has maintained for some two decades. It was a humiliating experience for an actress particularly noted for her perfectionism, and rumor has it that Dunaway feels the film ended her career as a major film star. Rate this script: (0.It is also true, however, that audiences howled with laughter at the film when it debuted, and although leading lady Faye Dunaway received a number of critical accolades for her performance as Joan Crawford, she also received an equal number of devastating reviews–and it was these that caught the spotlight. We have a moral and legal responsibility in this job. There's no other family member in the home. The agency has denied your application for adoption.
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I know how to teach a kid to take care of himself Would I be where I am if I hadn't had them? I was pregnant seven times with franchot. Is one of the things I most look forward to. I'm the one who's grateful, reverend mother.īeing here with you and the children at Christmas Miss Crawford, words cannot express our gratitudeįor the happiness you bring our children. Helga, I'm not mad at you, I'm mad at the dirt. If you can't do something right, don't do it at all. When you Polish the floor, you have to move the tree. Helga's finished in the living room, Miss Crawford.
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The palatial home of movie queen Joan Crawford, Joan's treatment of Christina is often passive-aggressive, fueled both by the highs and lows of her career, the narcissism that goes along with being an actress, and alcohol abuse especially during the low times. Joan believes that her own difficult upbringing has made her a stronger person, and decides that, while providing the comforts that a successful Hollywood actress can afford, she will not coddle Christina or her other children, she treating Christina more as a competitor than a daughter. Her lover at the time, Metro-Goldwyn-Mayer lawyer Greg Savitt, was able to go through a brokerage to adopt a baby girl, who would be Christina, the first of Joan's four adoptive children. Unable to bore children, Joan, in 1940, was denied children through regular adoption agencies due to her twice divorced status and being a single working person. Synopsis: The relationship between Christina Crawford and her adoptive mother Joan Crawford is presented from Christina's view.