In every scene, the pair butt heads as only people who love each other but drive one another crazy can do. Though it takes MacLaine 15 minutes to come onscreen, the film makes it clear early on that Suzanne’s snorting and smoking was to get over her mother’s influence. She arrives late, in a fluffy mink coat and pearls. The scene has the echoes of a classic screwball comedy: When she shows up to the rehab clinic to visit her daughter, it’s like she’s making an promo appearance. The mother, Doris Mann (Shirley MacLaine), is a total star. Someone, somehow, decides that caretaker should be Suzanne’s mother. After an overdose and a stint in rehab, her agent asks her to live with a trusted caretaker. The film follows Suzanne Vale (Meryl Streep), a once-promising actress whose career has been derailed by drug addiction. The 1990 film, adapted by Fisher from her own novel, is hilarious and absurd, and it wrestles with something I’ve spent my whole life feeling uncomfortable about: the phenomenon of totally adoring your mother, but occasionally feeling sucked into her massive orbit. Blige or takes those classic mom selfies with her head cocked to the side, she’s stunning and charismatic.Įvery conversation about Carrie Fisher, for me, starts with Postcards From the Edge. My own mom is like that: Not only does she have the gift of always knowing exactly what she wants, she’s really beautiful. It’s hard growing up with a really dynamic mother, especially one that a lot of people admire.
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