December 2, 2011 § 1 Comment
Mildred Pierce is a women’s weepie baked in a film noir crust. Knowing that the source material was from crime writer James M. Cain (The Postman Always Rings Twice, Double Indemnity), I assumed that the noir aspect of this film was his, too. After watching, I was surprised to find out that Cain’s novel pretty closely follows the “weepie” portion of the film, with nary a bullet fired. The noir framing device was added by screenwriters due to pressure from the Breen Office, for reasons I shall not spoil. (The Kate Winslet Mildred Pierce miniseries follows the book much more closely, if that’s what you’re into.)
The movie opens with bullets fired in a beach house, taking down mustachioed Monty Beragon. We don’t see the killer, although we do hear Monty gasp, “Mildred!” before he dies. Shortly after, we see a fur-clad Mildred on a foggy pier, appearing to contemplate jumping off. A policeman persuades her not to, and in the extended intro that follows, she has a drink with old friend Wally Fay, who expresses surprise that she’s learned to drink good liquor, and invites him back to the beach house where Monty’s body still lies on the floor. They head downstairs without noticing him, though, and here Mildred slips out the back, leaving Wally to be apprehended by the police when he finally discovers the corpse in the living room. Soon afterward, the cops take Mildred down to the station to get her side of the story, where we get into the flashbacks that form the bulk of the film.
The film deliberately plays with us here, with the fur coat, taste for expensive booze, and the disappearing act all implying that Mildred will be the femme fatale in what is already a very shadowy noir . . . then immediately flashing back to a sunny California bungalow where the very same Mildred wears an apron and bakes pies. She’s the mother to two children, spoiled Veda and tomboyish Kay, and wife to Bert, although their marriage is on the rocks. As the flashback unfolds, Bert and Mildred divorce, and Mildred must learn to support herself and the girls–at first as a waitress, much to Veda’s dismay, and then as the owner of an ever-increasing chain of restaurants. Meanwhile, Mildred is falling for her business partner, the wealthy playboy Monty Beragon.
Still playing with us, the film’s actual femme fatale is the innocent-looking Veda. And Mildred’s fatal flaw is that she can’t see her daughter for what she really is, toiling at the restaurants so that V. can have the best of everything–dresses, singing lessons, new cars–while Veda schemes and social-climbs behind her mother’s back and humiliates her to her face. Equally spoiled is Mildred’s boyfriend Monty, who grew up rich but no longer has as much money as everyone thinks, and who’s taken to accepting handouts from Mildred as her business empire grows. Slightly better at recognizing his sins than Veda’s, Mildred breaks up with him, but their separation doesn’t last long . . . which leads us to the disastrous conclusion of our story: a retelling of the murder in the opening scene, this time with the blanks filled in. Throughout Mildred’s tale, evidence has mounted up as to exactly who committed the murder in the opening scene. The question that remains is why?
Mildred Pierce is a one-of-a-kind film. Most noirs are centered entirely around the worlds of men, detective offices and dark alleys–but this one takes place in sun-soaked kitchens. Women in traditional noir play victims or femmes fatales, but never does the story center around them. In Mildred Pierce, the entire film is about Mildred and Veda’s relationship with each other; the men in their world are merely satellites. (In fact, the gender flip is completed by Monty functioning as something of a femme fatale–homme fatale?–himself.) Despite this, one can also make an argument for the story’s inherent sexism. While Mildred is a business tycoon–far more successful in that realm than any of the film’s men–by the end of the story, she’s lost it all. As in all good Greek tragedies, Mildred’s inability to see Veda clearly causes her own downfall, the decimation of both her career and personal life. Are we supposed to see this as a punishment for her stepping beyond the traditional confines of the “woman’s sphere”? Or is it simply collateral damage, with Mildred casting off all her tethers into the proverbial fire, in order to start anew?
Tagged: 1940s, adolescence is ugly, almost incest, ann blyth, book to film, business tycoon, butterfly mcqueen, california, dead spouses, divorce, drama, dysfunctional family, eve arden, femme fatale, film noir, girl-on-girl crime, greek tragedy, having it all, hays code, independent woman, infidelity, james m. cain, joan crawford, love is merciless, love triangles, mama bear, melodrama, mildred pierce, more money more problems, mothers and daughters, murder, murder mystery, nouveau riche, playboys, prodigal daughter, rocky marriage, social climbing