From Di Laurentiis Entertainment
Directed by Bruce Beresford
Starring
Diane Keaton
Jessica Lange
Sissy Spacek
Tess Harper
Hurd Hatfield
David Carpenter
Beeson Carroll
Sam Shepard
Who loves a southern gothic tale, a black comedy bubbling up in attempted murder, suicide and attempted suicide, statutory rape, racism, adultery and mental illness? Well, gee... I do. And when it stars three Oscar-winning actresses and is based on a Pulitzer Prize-winning play (by Beth Henley), I like it even more.
Keaton, Lange and Spacek play the odd McGrath sisters of Hazelhurst, Mississippi, who are back together for the first time in years. Two of them, however, have never left. The eldest, Lenny (Keaton), a spinster, still lives in the large family home where she has cared for her ailing grandfather (Hatfield), although he is now hospitalized. Babe (Spacek), the youngest, prone to clumsy suicide attempts, is back in the family home and on bail for shooting her hateful attorney husband.
Lenny has asked middle sister, Meg (Lange), to return and help sort things out. Meg is a free spirit who got the hell out of town years earlier to pursue a singing and acting career in L.A. It all fizzled when she suffered a nervous breakdown although she has excelled in drinking and rampant sex. Those who move away from their hometowns and return for visits often cause much upset for those who have never left. Babe is somewhat captivated by Meg's free-wheeling ways and Lenny is clearly not. Meg finds it acceptable to come back and call out her sisters on their backward ways while adding some untruths about her great adventure in Hollywood.
Calling out all of them on their peculiar ways is their equally peculiar nextdoor cousin, Chick (Harper), a busybody who can't seem to stop intruding in their lives. She knows they don't care for her but it doesn't stop her offering bitchy insights.
Also a source of problems is Doc (Shepard), a married friend of the sisters. He and Meg pick up their old ways which includes an overnight stay in the woods, in and out of his truck. It all stresses out Lenny. Although she pays lip service to the fact that Doc is married, it's more about Lenny wanting some of the action herself but not able to admit it or act upon it.
Lenny is practically a virgin. Her one time performing the deed didn't go so well and she's been on horizontal hiatus ever since. With that comes much regret and she has become a first-class whiner. Lenny is pathetically cautious and out-of-step with life and is jealous of her middle sister whom she tries to put down. Meg, however, is the toughest of the trio and the one who takes charge.
The jewel in the crown is the impulsive Babe. The sisters all suffer at some level with mental or emotional issues. Years earlier their mother hanged herself and her beloved yellow cat in the family home after her husband walked out. The effect on the sisters is still evident.
Babe is open about the shooting but is reluctant to admit to her sisters that she had been carrying on with a 15-year old black boy and it is this that set off her bully husband (Carroll). She took umbrage to his upset and shot him in the stomach. Oblivious to the fact that he is writhing on the floor, she asks him if he'd like some delicious lemonade. (I believe she kills him in the play.) A fair amount of time is given to her attorney (Carpenter) trying to get her off.
The acting of our three Dixiebelles is, of course, delicious but we must single out Spacek as the one who knocks it out of the park. Her story is the attention-getter and she offers up a wonderfully nuanced performance. And in that regard we must also shine a light on Harper who fascinated and irritated at the same time. Both actresses were nominated for Oscars.
Shepard's low-key performance is in line with what he always did and as usual, is right on the mark for Doc. Lange was pregnant with his child during filming. Shepard, a favorite of all three actresses, worked with all in other films.
Beresford is one of those Aussie directors whose work I tried not to miss. He has had a wonderful feel for American period pieces as evidenced by his prior Tender Mercies (1983, also with Harper), Driving Miss Daisy (1989) and Rich in Love (1992).
Clearly a story of isolation, loneliness and unrealized dreams sounds serious and depressing but there is a wonderful comic overlay to the entire affair. Black comedy is simply a humorous look at serious matters, sometimes taboo or painful. I didn't find any great or powerful message but it is that black comedy, the south and three glorious actresses that captured my attention.
Next posting:
Let's do a good 80's film
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