Imagine if Wes Anderson directed a reality show starring your kookiest relatives.
It’s like “The Royal Tenenbaums” meets “The Addams Family”.
You feel like a “fly on the wall” on this complex relationship between a mother and daughter (who happens to be Jackie O.’s first cousin) living in a crumbling mansion in the tony East Hamptons.
Thanks to Jilly Perlberger for moving Grey Gardens up in my queue.
Trailer for “Grey Gardens”
Watch “Grey Gardens”
You can watch “Grey Gardens” for free on YouTube here:
…or stream it here:
- HBO Max (with subscription) at https://play.max.com/movie/1da58c29-5bfc-4198-8ac6-055f8cd0eee6
- Apple TV (for $3.99 last I checked) at https://tv.apple.com/us/movie/grey-gardens/umc.cmc.g66sgdzrwureclr97kncb8bz
You can find the latest streaming options at https://www.justwatch.com/us/movie/the-beales-of-grey-gardens
Ratings:
- My Rating: 90/100
- IMDB Rating: 7.6/10
- Rotten Tomatoes Ratings: 85/100 (Users); /100 (Critics)
Release Date: Release date: February 19, 1976
My Review of “Grey Gardens”
“Grey Gardens” is one of those docs that sticks with you long after the credits roll.
I first watched it with a mix of fascination and discomfort. Directed by the Maysles brothers, this 1976 documentary runs for 95 minutes.
It explores the decaying world of Edith Ewing Bouvier Beale (“Big Edie”) and her daughter Edith Bouvier Beale (“Little Edie”).
They live in a dilapidated mansion in East Hampton, New York, a stone’s throw from the opulent lives of their Bouvier-Kennedy relatives, but miles away in every other sense.
The first thing that strikes you is the setting. Grey Gardens, once a grand estate, is now a crumbling relic overrun by cats, raccoons, and an unruly garden.
Faded Glory
The house, like its inhabitants, tells a story of faded glory.
Paint peels from the walls, rooms are cluttered with decades of memorabilia, and the air of decay is almost palpable through the screen.
The Beales live in isolation, surrounded by memories and remnants of a bygone era.
But this documentary is more than just a voyeuristic peek into a life of squalor.
The Beales are mesmerizing. Big Edie, in her eighties, is a former singer who still clings to the past, holding onto memories of her youth and failed marriage.
Little Edie’s Fashion
She often sings old tunes, sometimes to herself, other times to Little Edie, who flits about the house in eccentric outfits that she’s cobbled together from scarves, skirts, and bathing suits.
Little Edie’s fashion sense is one of the most striking elements of the film. It’s not just quirky; it’s a form of self-expression, a rebellion against the world that has forgotten them.
Little Edie is perhaps the most compelling figure in the documentary.
In her late fifties at the time of filming, she has returned to Grey Gardens after a failed attempt to make a life for herself in New York City.
Her relationship with Big Edie is complex, marked by both deep love and sharp resentment.
The documentary captures this tension in moments that are by turns touching, funny, and painful.
In one scene, Little Edie complains about her mother’s interference in her life, only to be met with a sharp retort from Big Edie.
Yet, moments later, the two are laughing together, sharing a tender bond that belies their constant bickering.
Maysles Brothers Directors’ Style
The Maysles brothers, Albert and David, are pioneers of the Direct Cinema style (aka “fly-on-the-wall”,).
Grey Gardens” is a perfect example of their approach.
Known for their work on films like Salesman and Gimme Shelter, they specialize in capturing life as it is, without scripts, interviews, or narration.
The camera simply observes, allowing the Beales to tell their own story.
This method gives the documentary a raw, unfiltered quality, making it feel like a true glimpse into the private lives of these two women.
The absence of commentary or imposed structure means that the viewer is left to draw their own conclusions, which only adds to the film’s enigmatic appeal.
Personally, I love this style — I found myself feeling like a voyeur as I watched the Edies live day to day.
My favorite moment in the documentary is them feeding the raccoon in the attic. The raccoons and cats seem to be as much a part of the household as the Beales themselves.
Little Edie tosses slices of Wonder Bread up into the rafters, casually feeding the raccoon that has taken up residence there.
It’s a moment that underscores the decay and chaos of their lives, yet it also shows their acceptance of it.
They’ve adapted to their environment, however strange it may seem to outsiders.
And then there’s Jerry, the long-haired young painter who shows up on his 10-speed bike.
Jerry Torre, known as “The Marble Faun” by the Beales, is a mysterious figure in the film.
What’s his agenda? Is he there out of genuine affection for the Beales, or is he just another curiosity drawn to the oddities of Grey Gardens?
I wish they had explained more about Jerry’s involvement. But that’s the drawback to Direct Cinema.
No narration.
You have to guess some of what’s going on.
His presence adds another layer to the film’s portrait of the Beales’ isolated world.
He’s both a friend and a distraction, someone who flits in and out of their lives, providing a fleeting connection to the outside world.
Yet, like everything else in Grey Gardens, his role is ambiguous, leaving us to wonder about his true intentions.
The Beales’ story is a tale of decline, but it’s also one of resilience. Despite their circumstances, both women maintain a sense of dignity and humor.
They’re survivors, and there’s a certain defiance in the way they cling to their eccentricities and refuse to conform to societal expectations. Little Edie, in particular, embodies this spirit. She’s unapologetic about her choices, whether it’s her unconventional wardrobe or her decision to return to Grey Gardens.
There’s a tragic element to her story—she’s a woman who once had dreams of becoming a star, only to end up living in near-total isolation—but there’s also something admirable in her refusal to give up on life.
One of the lesser-known aspects of “Grey Gardens” is the backstory of how the Maysles brothers came to make the documentary.
Backstory (the film was supposed to be about Jackie O).
Originally, they set out to make a film about Jacqueline Kennedy Onassis, but during their research, they discovered the Beales and were immediately drawn to their story.
The contrast between the Beales’ destitution and the Kennedys’ wealth and fame was too compelling to ignore, and the filmmakers quickly shifted their focus.
This decision to follow the more obscure, yet richly textured, story of the Beales instead of pursuing the more obvious subject of Jackie O is a testament to the Maysles brothers’ instincts as documentarians.
Another detail that’s often overlooked is the role of the house itself as a character in the film. Grey Gardens isn’t just a backdrop; it’s a living, breathing entity that reflects the Beales’ inner lives.
The decaying mansion, with its overgrown gardens and disheveled rooms, mirrors the decline of its inhabitants.
Yet, like the Beales, the house has a certain charm despite its disrepair.
There’s a strange beauty in the chaos, a sense that this was once a place of elegance and sophistication, now lost to time but still clinging to the remnants of its former glory.
The documentary also touches on themes of mental illness and co-dependency, though it never explicitly addresses these issues.
Edie’s eccentric behavior and Big Edie’s refusal to leave the house are symptomatic of deeper psychological issues, but the film doesn’t delve into these topics in a clinical way. Instead, it presents the Beales as they are, without judgment or analysis.
This choice to refrain from pathologizing the women allows them to retain their humanity and dignity, even as the viewer becomes increasingly aware of the extent of their isolation and decline.
“Grey Gardens” has had a lasting impact on popular culture.
Little Edie, in particular, has become a cult figure, inspiring countless artists, fashion designers, and performers.
Her unique style and distinctive personality have made her an icon of eccentricity and nonconformity.
The film has also spawned numerous adaptations, including a 2006 Broadway musical and a 2009 HBO film starring Drew Barrymore and Jessica Lange.
These adaptations, while faithful to the spirit of the original documentary, can’t quite capture the raw, unvarnished reality that makes the Maysles’ film so powerful.
The legacy of “Grey Gardens” lies in its ability to provoke a wide range of emotions in its viewers. It’s a film that’s both sad and funny, disturbing and endearing.
The Beales are tragic figures, yet there’s something uplifting in their refusal to be defeated by their circumstances. They’ve been dealt a rough hand, but they play it with grace, humor, and a touch of defiance. Watching “Grey Gardens” is an emotional rollercoaster, one that leaves you feeling both haunted and strangely uplifted.
Thanks for reading!
Rob Kelly, Chief Maniac, Daily Doc