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Loading …Rent Movie.com movie reviews presents Mildred Pierce movie review a 1945 film starring Joan Crawford, Jack Carson and directed by Michael Curtiz After her cheating husband leaves her, Mildred Pierce proves she can become independent and successful, but can’t win the approval of her spoiled daughter. Mildred Pierce dotes on her daughters while husband Bert looks to Maggie Binderhof for affection. They soon divorce, leaving Mildred to raise the girls on her own. Elder daughter Veda goads her mother about their lack of money and in response Mildred proposes opening a small restaurant. Realtor Wally Fay advises her while making numerous rebuffed passes and introduces her to Monte Baragon whose property becomes the first of a chain of restaurants. Mildred has an affair with Monte. Meanwhile, money-hungry Veda pretends to be pregnant by wealthy Ted Forrester in order to bilk his family of $10,000. Mildred tears up the check, is slapped by Veda, and orders her daughter to leave. After time away, Mildred returns to find Veda singing in a cheap club. Veda will return only if Mildred promises luxury, so Mildred agrees to marry Monte in exchange for a third of her businesses. It soon becomes clear that something is going on between Veda and Monte. Mildred learns of this only after Monte has sold out his third of the her business leaving her bankrupt. She goes to Monte’s beach house to kill him… Shots ring out, but what really happened? For a full dose of pure, unfiltered Joan Crawford, look no further than this slab of scorching film noir. Crawford is in her element as the heroine of James M. Cain’s pulp-fiction classic, a ditched wife and mother who is forced to become a waitress. On the strength of Crawford’s steely willpower (and maybe those intimidating wide-wing shoulder pads), she constructs an empire of eateries, only to be disappointed by her rotten daughter (Ann Blyth) and a ferret-faced new husband (Zachary Scott). Director Michael Curtiz (Casablanca) whips up a storm of atmosphere, and the script is a series of tartly written exchanges. The best lines go to perennial wisecracker Eve Arden, as Crawford’s acid-tongued pal–she earned her only Oscar nomination for the role. Commenting on the ungrateful daughter, Arden says, “Alligators have the right idea. They eat their young.” Crawford herself took home the best actress Oscar, and the film was a triumphant personal comeback: her longtime studio MGM had released her from her contract before Mildred Pierce came along. Is this great acting? (Pauline Kael called it “heavy breathing.”) Whatever Joan Crawford is doing in this movie, it’s movie presence at its most formidable. –Robert Horton
Comment by Kim Anehall “www.cinematica.org”
# January 1, 2007,
Mildred Pierce, the novel, tells the story of the self-made homemaker Mildred Pierce sometime in the middle of the Great Depression who decides to fight against the destitute and indifferent era. Through her honed skills in baking, she makes delightfully tasty cakes and pies, which leads her to the realization that she can become the breadwinner. It also deals with several family issues such as divorce, parenting, and death. Yet, the overshadowing theme that heavily hangs over the whole story seems to be responsibility, as the characters often shift their own responsibility to the motherly, strong, and independent woman Mildred. The cinematic adaptation makes one significant change with the story by changing it from a drama to a thriller, or more precisely to murky genre film-noir by introducing a murder into the story.
The heavy buzzing sound of an airplane departing from Chicago with Amsterdam as its designated destination served as the location for my screening. The lights were out and people were sleeping, as I carefully placed the headphones over my ears and turned on my laptop to view this historical film-noir. The opening credits emerging across the sand dunes while washed away by the waves of the ocean brought me the notion of life’s cyclical pattern. Maybe it serves the theme of a mother’s nurturing care and idea for parental responsibility, or just tries to enhance the mysterious concept that surrounds film noir. Anyway, the opening scene shows two brief night shots of an isolated luxury beach house with a third scene of a man falling over by a gun shot in the chest. Undoubtedly, the opening smacks the audience with suspense from the first minute, as the perpetrator tosses the gun on top of the rapidly dying man.
[Deductive Spoilers Ahead]
In a coastal town not far from the luxurious beach house, a woman, who the audience eventually will identify as Mildred Pierce (Joan Crawford), stands by the railing of pier while teary-eyed staring down in the water. She steps up on the edge, preparing herself for a plunge when a police office slams the railing with his club. Stunned out of her miserable moment she stops, as the police officer asks her, “What’s on your mind, lady?” She brushes him off by asking him to leave her alone. Instead, the police officer provides a simplistic answer of responsibility and the consequences of her actions. Yet, it is within this basic idea, which the films gem rests.
When Mildred’s first plan did not succeed, she attempts a second, by bringing the old friend and owner of a bar Wally Fay (Jack Carson) to the same beach house with the murdered man from a couple of scenes ago. They have a long friendship that stem from his affectionate care and interest in her, which has soured over some business deals. Due to the circumstances, hastily Mildred Pierce acts, as if she changed her mind about Wally and invites him to her beach house. It is not the kind of invitation that was common in the thirty’s, as she is married. Yet, in some way, Mildred Pierce attempts to pin the murder on Wally. However, things do not run as planned, as the police later picks her up. From this moment on, things are getting even more complicated, which forces her to tell the true story about the murder.
Through Mildred’s voice-over, a flash back retells a lengthy tale starting from when she was a housewife. Mildred Pierce goes into detail to share how her husband was laid-off, how and why she spoiled her daughters, and her husbands philandering. She also shares how she became a successful businesswoman, and how her success continued to grow. Besides the success, Mildred Pierce also tells of her misfortunes such as losing both of her daughters. It is within the story of her daughters where the poignant tragedy emerges, as she shares with the Chief Inspector how she neglected and spoiled them. It is a guilt-ridden tale that sobs out Mildred’s mouth; however, the audience cannot help to empathize with her while also seeing how she feels guilty.
How damaging affection can actually be if not properly managed emerges through Mildred’s relationship to her oldest daughter Veda (Ann Blyth). Mildred’s sense of responsibility seems overwhelming, as she always attempts to provide for Veda. In the process, Veda gets a skewed sense of reality; as she always is sheltered by her mother and never gets to test her own wings. Mildred Pierce is naturally to blame for Veda’s blemishes. However, the child also needs to learn the responsibility of ones own actions as an adult, which is a lesson that Mildred Pierce learns in a most profound manner.
Mildred Pierce, as a film, employs a brilliant adapted narrative that encourages the audience to contemplate the actions of the main character. It also allows the viewer to contemplate on personal improvement while it provides a fascinatingly dark thriller. The camerawork and the mise-en-scene help bring out the oppressive and shadowy elements of film noir, which compels the story to feel even more intriguing. On top of this, the cast performs radiantly with Joan Crawford and Ann Blyth providing dazzling performances. Michael Curtiz’s direction pulls it all together into a stunningly captivating story that keeps the audience in suspense and questioning the choices of Mildred Pierce.