Movie Reviews from the Dark

With Love, Mommie Dearest: The Making of an Unintentional Camp Classic

By A. Ashley Hoff

Published by Chicago Review Press

Available May 7, 2024 at https://www.amazon.com/Love-Mommie-Dearest-Unintentional-Classic/dp/1641607688

“No wire hangers ever!” Thanks to the internet and memes and gifs, that iconic line is familiar today to some people who haven’t even seen the 1981 movie, MOMMIE DEAREST. Author A. Ashley Hoff is a Hollywood historian, researcher, and writer, and he takes us on a deep dive behind the scenes of one of the most notorious cinematic camp classics of all time.  “How did they do that?” “Who decided that?” “What were the filmmakers thinking?” What was it like on set?” If you are the kind who asks these types of questions about the movies you watch, Ashley’s book will deliver all the answers you could possibly desire, while also cluing us in a bit on the industry itself – including who holds the power.

Author Hoff does an excellent job distinguishing Christina Crawford’s best-selling 1978 memoir, “Mommie Dearest”, from the adapted screen version, MOMMIE DEAREST (1981). It’s likely many will be surprised at just how uninvolved Christina (Joan Crawford’s adopted daughter) was with the making of the movie. On the other hand, what’s not surprising is the amount of information and detail provided on lead actress, Faye Dunaway. By 1981, Ms. Dunaway was a true movie star. She exploded onto the screen with Warren Beatty in Arthur Penn’s BONNIE AND CLYDE (1967), and again with Jack Nicholson in Roman Polanski’s brilliant CHINATOWN (1974). It’s fair to say her career peaked from a prestige level with her Oscar winning performance in Sidney Lumet’s NETWORK (1977), and that MOMMIE DEAREST was integral to a change in the types of roles she was offered.

 Personal interviews with key players, as well as previously published comments, paint the mosaic of the many moving parts beginning in pre-production, and progressing through casting (Anne Bancroft!), set design, costuming, hair, and make-up, all while balancing the first ever child’s view of abuse, and the conflicts between producer, director, and diva star. ‘The Franks’ (Producer Yablans and Director Perry) were respected industry professionals, yet we are left with the impression that neither was able to exert much control over Faye Dunaway, infamous for both her preparation and inflexible views. Two of the more interesting perspectives are sprinkled throughout with observations from actress Ratanya Alda (who plays Joan Crawford’s assistant Carol Ann) and Tracy Hotchner, who wrote the original screenplay.

Remembered as Hollywood royalty, Joan Crawford passed away in 1977, before Christina’s memoir was published and obviously prior to the film’s release. She won an Oscar for her outstanding performance in MILDRED PIERCE (1945), and later appeared alongside her big screen rival, Bette Davis, in WHATEVER HAPPENED TO BABY JANE? (1962). These days, more people associate her with the infamous wire hangers and Dunaway’s portrayal of her in the film. It’s fascinating to read how those involved were absolutely convinced they were making a serious drama featuring an ultra-serious topic and a Hollywood legend. When the reviews became progressively more scathing and audiences began to laugh at the over-the-top moments, a camp classic was born. Since then, the comparisons to THE ROCKY HORROR PICTURE SHOW (1975) are inescapable. Midnight showings found audiences dressed in costumes, waving wire hangers, and shouting lines of dialogue at the screen.

As we make our way through Hoff’s book, we find ourselves feeling empathy towards the filmmakers, the cast, the crew, Joan Crawford, and Christine Crawford. No one received the acclaim they expected (instead, the film racked up some Razzies that year). Some viewed it as a missed opportunity to drive serious conversation on child abuse, yet ‘serious’ just seemed to be the one thing never associated with the film. Hoff has provided an extraordinary amount of information for those interested in the mysterious ways of Hollywood, or for those who simply can’t get enough of “Mommie Dearest” in any format.