If creepy-as-s**t "aristocratic" Americans attachment disorders were McDonald's happy meals, Foxcatcher would be for the boys while Grey Gardens would be for the girls... weird analogy, perhaps, until you realize that one of the Bouvier/Beales (or both) knew the Duponts, and one of their photos is pointed in the film out as being shot by those other delightful bunch of blue bloods.
This is the original 'Hoarders', a reality show before that concept had polluted the TV airwaves, only here given a natural boost and clarity by the Maysles brothers - they're unmistakable as being part of this whole thing and even try to sing along once or twice in good favor with these wombats - and thus they are all-too human depictions of decay and disorder. You might almost think going on, as I did, mistakenly, that there may be some laughs to be had, whether at their expense (cruel, but it's part of the whole Schaudenfreude thing with reality TV) or with them (a few of the elder Edith's observations are funny in a scathing way).
But it's not really. This is a disturbing film precisely because the Maysles just show the place for how it is. And yet it also has some good historical context amid the mother and daughter squabbling (which makes up a good 55% of the film) - just one panning shot across the various homes along the Long Island sound, homes that were very likely at one time the sort one saw in Gatsby, speaks a lot of words.
It's meant to be uncomfortable many times, though there's a lot of tragedy in the air as well. 'Little Edie' may or may not be here against her will in a way; but then the questions arise, and one goes into another. One might ask, why doesn't she just leave? Well then, who would take care of her mother? Maybe it's her mother's 'time' to go to a "home" for the elderly - her eyesight is quite terrible, and though she has some of her marbles she spends much of her time singing (not terribly, it should be noted) to old show-tunes and petting and feeding the stray cats. But then why even keep the house at all? Memories, perhaps.
Or just the whole 'Old-Money' thing that came with being the cousin of the former wife of the president of the USA. Marriage is brought up a lot in the film - failed ones, (semi) successful ones, relationships that could have been that Little Edie resents her mother for, and her mother just thinks 'Eh, whatever'. In a way it's almost like the Maysles have no choice but NOT get in the way of these women. They only ask a question here and there to move a thought forward, not to press any point. Clearly, as one can see in Grey Gardens, these ladies can do that all on their own.
Of course the house itself is another character, a gangly and rancid thing in the midst of "All those leaves" (as Little Edie points out) looking like something that should at BEST be considered for a *good* cleaning and at worst should be burned to the ground (those cute raccoons in the attic optional). Ultimately, the power of this creepy saga of the underbelly of the upper class is sometimes very hard to watch or take in, but that's the idea. After five minutes you'll either know to go along for the other hour and a half with these pieces of work, or not. I did, and I'm glad I did - whether I return, I'm not sure.
This is the original 'Hoarders', a reality show before that concept had polluted the TV airwaves, only here given a natural boost and clarity by the Maysles brothers - they're unmistakable as being part of this whole thing and even try to sing along once or twice in good favor with these wombats - and thus they are all-too human depictions of decay and disorder. You might almost think going on, as I did, mistakenly, that there may be some laughs to be had, whether at their expense (cruel, but it's part of the whole Schaudenfreude thing with reality TV) or with them (a few of the elder Edith's observations are funny in a scathing way).
But it's not really. This is a disturbing film precisely because the Maysles just show the place for how it is. And yet it also has some good historical context amid the mother and daughter squabbling (which makes up a good 55% of the film) - just one panning shot across the various homes along the Long Island sound, homes that were very likely at one time the sort one saw in Gatsby, speaks a lot of words.
It's meant to be uncomfortable many times, though there's a lot of tragedy in the air as well. 'Little Edie' may or may not be here against her will in a way; but then the questions arise, and one goes into another. One might ask, why doesn't she just leave? Well then, who would take care of her mother? Maybe it's her mother's 'time' to go to a "home" for the elderly - her eyesight is quite terrible, and though she has some of her marbles she spends much of her time singing (not terribly, it should be noted) to old show-tunes and petting and feeding the stray cats. But then why even keep the house at all? Memories, perhaps.
Or just the whole 'Old-Money' thing that came with being the cousin of the former wife of the president of the USA. Marriage is brought up a lot in the film - failed ones, (semi) successful ones, relationships that could have been that Little Edie resents her mother for, and her mother just thinks 'Eh, whatever'. In a way it's almost like the Maysles have no choice but NOT get in the way of these women. They only ask a question here and there to move a thought forward, not to press any point. Clearly, as one can see in Grey Gardens, these ladies can do that all on their own.
Of course the house itself is another character, a gangly and rancid thing in the midst of "All those leaves" (as Little Edie points out) looking like something that should at BEST be considered for a *good* cleaning and at worst should be burned to the ground (those cute raccoons in the attic optional). Ultimately, the power of this creepy saga of the underbelly of the upper class is sometimes very hard to watch or take in, but that's the idea. After five minutes you'll either know to go along for the other hour and a half with these pieces of work, or not. I did, and I'm glad I did - whether I return, I'm not sure.