Shirley MacLaine
Interview By: Ray Dademo
At this stage of her career, it's a little unusual to imagine Shirley MacLaine mellowing out. What was once a body of work built upon vibrant portrayals of kooky-yet-compassionate young women and quirky hookers with proverbial hearts of gold has blossomed over the years into a concentrated study in strong personalities. Who could forget her outsize spin on the flashy Debbie Reynolds tintype in Postcards from the Edge' Where has there been a more humane portrayal of domineering motherhood than in Terms of Endearment' These performances (along with a slew of others: Used People, Being There, Steel Magnolias) intensified the delicate side of the flamboyant, making the grandiose somehow identifiable.
It may be true that the twentieth century has not been kind to MacLaine. In recent years, the liveliness of her characters has, at times, segued into the grotesque. (Anyone remember These Old Broads' Probably not.) By the time this summer's Bewitched hit theatres, MacLaine's career seemed destined to follow the same path of her idols, Bette Davis and Joan Crawford. The road ahead looked paved with eccentrics, coarse old biddies that could just as easily be played by drag queens.
Then MacLaine threw a curveball, accepting a supporting role in In Her Shoes, the latest from director Curtis Hanson. The role' A retiree attempting, with quiet desperation, to connect with the granddaughters she never knew.
'Maybe because at this time in my life,' MacLaine says, 'I like the idea of being more subtle. Not flamboyant, outrageous, colorful. All those parts that I usually play. And I like that fit right now.'
The role of Ella Hirsch in In Her Shoes proves to be a comfortable fit, as well. Advance buzz on MacLaine's performance has been glowing. It's even earned her private seal of approval: a matter-of-fact 'I think it's a good performance.'
'I think when you get older you have more wisdom and you don't have a need to perform who you are. You already know who you are. You already have a quiet confidence... stability and a sense of center. Therefore, you feel safe in doing nothing. I did that in a film called Desperate Characters... which nobody saw... a very contained performance, which I liked. And I don't feel threatened by doing nothing. That comes with wisdom and age and knowing who you are.'
However favorable MacLaine's feelings about the film, she is nevertheless dissatisfied with the way it has been advertised. The film's commercials have targeted the young female demographic, selling a 'chick-flick,' rather than the 'very complicated, layered piece' MacLaine recalls shooting.
'The family is one of dysfunction. I don't like people calling it a 'chick flick' because its not. It's the story of a family that overcomes real dramatic disaster. I mean, these girls' mother committed suicide. One of the girls knows it; the other doesn't and is told about it. C'mon, that's pretty dramatic stuff. That's not chick flick stuff. That's family stuff and every family in the world has something like that going on. It might be more subtle and it might not be quite as broad but all families are a study of a small civilization. That's why I did this movie and why Curtis wanted to move in and see what happens with women.'
The 'women' she speaks of are played, in the film, by Cameron Diaz and Toni Collette ' two actresses MacLaine found herself taking under her wing. 'I had seen Toni and how brilliant she is in everything. Maybe one thing [surprised me:] how deeply committed she was to being homely. I really want her to do a glamorous part. Cameron, you do a dramatic part without flash, and Toni, you do a glamorous part with flash. That's my recommendation... as their agent.'
Having been an onscreen fixture for five decades, MacLaine knows a thing or two about the state of filmmaking today, and is not without opinion. She finds films today better: 'more emotionally attached' with 'greater concentration on specifics.'
'I find the actors today better... more real. You see the decision making process happening on their faces. I think it's better today. I think the critics are harder on pictures today... they see themselves as watchdogs of the truth. They're too harsh on films. On the other hand, look at the films. I mean, e-gads! Everybody's wondering why aren't they doing well... look at the movies! People are recreating what's been done rather than creating something new.'
'In the old days, we had the studio... talent couches, coaches.' MacLaine pauses and laughs. 'I never had that. Nobody ever did a casting couch number on me. I used to wonder if there was something wrong. You had a kind of family around you. You had a sense of belonging to the studio. The downside of that was that they owned you. And on the other hand, that kind of acting was not as explorative as today.'
Explorative acting is exactly what MacLaine is content to try these days, and if she is happy with her performance in In Her Shoes, she has no time to dwell upon the forthcoming Oscar season. 'Oh, I think they're great. I love the idea of winning things. [But,] I saw The Apartment and said 'Oh, that's cute.' I saw Terms of Endearment and said, 'Where's the hour and a half they cut out'' All I know is Curtis wanted a contained performance''
It's subtlety that Shirley MacLaine is quite satisfied with. 'Take a lesson from Morgan Freeman,' she says. 'I'm patterning my career for the rest of my life after Morgan Freeman. Less is more'do nothing.'
With a throaty laugh, she sums up the future: 'I'm slowly getting to 'when is my Driving Miss Daisy gonna happen''"
RayDademo@TheCinemaSource.com
