Shirley

“SHIRLEY is indeed a more conventional film than MADELINE’S MADELINE, but not by much. It fashions its narrative as if it were one of Jackson’s psychodramas, teeming with dark themes and caustic, misanthropic humor. Moss and Stuhlbarg are both predictably terrific, although Odessa Young proves a worthy adversary as Rose, a pregnant academic’s wife whose relationship with Jackson evolves considerably. Similarly, watching SHIRLEY is its own journey: it deliberately seems off-putting until it doesn’t, slowly revealing its hand while still leaving out facets for the viewer to deduce. It’s both what one would hope Decker would make of this material and also not entirely what one would expect. That paradox translates into a somewhat frustrating viewing experience, but also allows for it to gradually resonate after it’s over. 4 cats

“(Available to rent through either The Brattle or The Coolidge’s virtual screening rooms.)”

Michael says: “I’m not sure what kept me from watching SHIRLEY for so long. I meant to, especially since I really enjoyed director Josephine Decker’s first film, the Chlotrudis multi-nominee, MADELINE’S MADELINE. SHIRLEY is an adaptation by Sarah Gubbins of Susan Scarf Merell’s novel about writer Shirley Jackson (author of such gothic horror tale as The Haunting of Hill House and the short story, The Lottery. As the film started, the thought did cross my mind, why were women writers in the day all a bit disturbed. I think the answer is because they were all held down and castigated by society, particularly the patriarchy around them that couldn’t take the thought of a brilliant woman in their midst. That was certainly partly the case as presented here, with her husband part tormentor, part partner-in-crime, in a story that comes across as part Who’s Afraid of Virginia Woolf? and part Shlrley Jackson gothic psycho-drama. As Shirley succumbs to insecurity and doubt, consuming lots of scotch and having trouble getting out of bed, in addition to suffering form agoraphobia, as she embarks on her second novel, Hangsman, husband Stanely convinces a new young, fresh-faced professor who is TA’ing for him, and his equally fresh-faced wife, Rose to say with them providing emotional and housekeeping support to Shirley and her duties. Rose is the true central character in the film in many ways, as her admiration of Shirley moves to disgust, then a codependent close friendship as Shirley manipulates, yet relies on her to help her get through the drama of writing a novel that inspires yet eludes her.

Julie responds: “Excellent review! I was surprised that it seemed no one mentioned this one as a must see earlier. Once I read the movie description I was all in (but did not know about this till Elizabeth Moss was nominated for best actress!). 4.5 cats for me as well.”

Diane says: “I was warned away from SHIRLEY due to its themes, but took the plunge and will be voting for it for Best Adapted Screenplay. A very strong story of manipulation, with a nice mind-bending set of closing scenes à la I’M THINKING OF ENDING THINGS.