The relationship between Christina Crawford and her adoptive mother Joan Crawford is presented from Christina's view. Unable to bear children, Joan, in 1940, was denied children through regular adoption agencies due to her twice divorced status and being a single working person. 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. Joan believe... (Full plot summary below)
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The relationship between Christina Crawford and her adoptive mother Joan Crawford is presented from Christina's view. Unable to bear children, Joan, in 1940, was denied children through regular adoption agencies due to her twice divorced status and being a single working person. 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. 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. 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. However, Joan sees much of her actions toward Christina as Christina purposefully provoking her. Despite the physical and emotional abuse Joan hurls at Christina over the course of their relationship, Christina, who often wonders why Joan adopted her seeing as to the abuse, seemingly still wants her mother's love right until the very bitter end.
Leave your thoughts about Mommie Dearest.
| Slant MagazineEric HendersonInscrutably powerful and brutally honest about diva worship as another form of male domination, Mommie Dearest is to camp what Medea was to Dr. Benjamin Spock. |
| Radio TimesAdrian TurnerThis is lavish and pretty accurate as far as Hollywood lore is concerned, but Dunaway makes Norma Desmond look like Doris Day. |
| EmanuelLevy.ComEmanuel LevyA peculiar hybrid: a high-camp Hollywood bio flick about child abuse, elevated substantially above its sordid material by Faye Dunaway's obsessively committed interpretation of legndary star Joan Crawford. |
| Ozus' World Movie ReviewsDennis SchwartzTrashy soap opera drama on the private life of screen queen Joan Crawford. |
| The A.V. ClubNathan RabinThere's something unnerving about the cult infamy of Mommie Dearest, a harrowing fact-based account of horrific child abuse that has developed a reputation as a camp giggle-fest of the so-bad-it's-good variety. |
| NewsweekJack KrollMiss Dunaway gives the uncanny, meticulous Crawford imitation that is at the heart of Mommie Dearest. The movie itself has nothing like the brilliance of the impression, which is why it remains an impression and can't altogether rise to the level of a performance. But on its own terms Miss Dunaway's work here amounts to a small miracle, as one movie queen transforms herself passionately and wholeheartedly into another. |
| Chicago ReaderJonathan RosenbaumThis adaptation of Christina Crawford's memoir about her driven, abusive mother is arguably too good to qualify as camp, even if it begins (and fitfully proceeds) like a horror film. Director Frank Perry, who collaborated with three others (including producer Frank Yablans) on the script, gives it all a certain crazed conviction. |
| TIME MagazineRichard SchickelLacking psychological intelligence or, for that matter, awareness of Hollywood sociology, Mommie Dearest is just a collection of screechy scenes further distanced by convictionless direction. |
| Bullz-Eye.comWill HarrisMommie Dearest is a film that's constantly bouncing back and forth between extremely well-performed moments of legitimate drama and insanely over-the-top performances, resulting in an odd sort of recommendation. |
| The New YorkerPauline KaelThis is Faye Dunaway as Joan Crawford and the results are, well, screen history. Dunaway does not chew scenery. Dunaway starts neatly at each corner of the set in every scene and swallows it whole, costars and all. Much has been written and said pro-and-con about Crawford since daughter Christina wrote the book on which this film is based. Whatever the truth, director Frank Perry’s portrait here is sorry indeed, 129 minutes with a very pathetic and unpleasant individual. |
