The Maysles brothers' Grey Gardens (1975)
is one of the most important documentary films of the
past thirty years. In the past decade the film has
gained the status of cult classic, inspiring both a
Broadway musical and a 2009 HBO feature film. In this
first single volume study of the film, Matthew Tinkcom
argues that Grey Gardens reshaped documentary
cinema by moving the non-fiction camera to the heart of
the household, a private space into which film-makers
had seldom previously ventured. Already well-established
figures in the 'direct cinema' movement of the 1960s
(with their previous films, including Salesman
and Gimme Shelter), the brothers' visual record
of a summer spent in the Beale household demonstrated
that the private lives of their subjects were rich
materials for the camera. By the time the film-makers
appeared on their front porch, the film's two central
figures, 'Big Edie' Beale and her daughter 'Little
Edie', had been living for two decades in near-poverty
in their beach-side East Hampton mansion (the 'Grey
Gardens' of the title). Close relatives of Jacqueline
Kennedy Onassis, by the early 1970s the Beales had lost
much of their personal wealth and their everyday lives
had descended into a state of barely-controlled squalor.
However, as the film-makers discovered, the women were
hardly victims of their poverty; rather they saw
themselves as artists who were willing to make seemingly
any sacrifice for their singing and dancing talents.
When the Edies perform for the camera, audiences are
challenged by the question of how much anyone would be
willing to give up in order to lead a life of eccentric
pleasure. Tinkcom argues that the film is one of the
first to combine documentary with the conventions of
fiction film melodrama, and that the film's appeal
arrives in the rich melodramatic dimensions of the
Beales' everyday lives in which they argue, dress up,
flirt, laugh, sing, dance and reminisce about their
experiences in New York's social elite in the first half
of the twentieth century.
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