In the late 1970's, Glenda Jackson was popular as a result of her performances in light romantic comedies, either starring opposite George Segal or Walter Matthau, and well respected for her participation in the art house films of the early 1970's, mostly directed by Ken Russell. Many of her films are obscure because they only appeal to certain kinds of audiences, and as one wag once put it, "Guess what. I saw a film the other day, and Glenda Jackson was not in it!" Even fellow British acting legend Maggie Smith got to comment in "California Suite" about Glenda being nominated for an Oscar pretty much every year. Indeed, in the 1970's, Glenda was nominated four times for the Academy Award (winning twice), tying with Ellen Burstyn and Jane Fonda for the most nominated actress of that decade even if she was not box office dynamite. Had "Stevie" been more promoted when it was released in 1978, she might have gotten a fifth nomination, but by the time this got an L.A. release, it was 1981, and the film slid by without recognition outside its original New York release several years before.
Most of Glenda's dialog is spoken to the audience, and how it is done in this biography of poet Stevie Smith truly works. She is touching, funny, tragic, sad, commanding, honest and real. She speaks out on many topics with such refreshing candidness that she instantly takes you into her heart. The first three quarters of the film deals with her relationship with the aunt she has lived with for years (the wonderful Mona Washbourne, best known as Mrs. Pearce in "My Fair Lady"), facing a confrontation with an old beau (Alec McCowen) whom she loves but cannot commit to out of her own fears of intimacy, and facing her own mortality as Washbourne gets weaker. Jackson discusses the issues with society, commenting on the middle class's snobbery and revealing a touching story of an old man she witnessed being escorted out of a posh tea shop. She then faces her greatest challenge: a meeting with Queen Elizabeth which is not without its folly. An anecdote concerning the Queen Mother is very funny, especially when considering Jackson's presence on the House of Commons for many years.
Stevie Smith was obviously a complex woman, yet quite charming in spite of her personal issues that prevented her from seeking relationships with men past the general friendships she made with them. Jackson goes out of her way to make you feel like you know this character inside and out, and yet instill her with a bit of mystery. Washbourne, too, makes you see who her character is with her love of sherry, her want of seeing Jackson settle down with a nice man, and ultimately as she gets older, her neediness and sad advance into old age. The last scene with her is one to reach for a Kleenex. Trevor Howard has a few odds and ends appearances by himself, describing his friendship with Stevie, and in the last reel, actually getting a chance to appear with her. This is a film that on concept might seem like it could bore you to sleep, but it is one that is surprisingly magical, with a combination of performances, writing, directing and most important overall, humanity, making it an absolute must.
Most of Glenda's dialog is spoken to the audience, and how it is done in this biography of poet Stevie Smith truly works. She is touching, funny, tragic, sad, commanding, honest and real. She speaks out on many topics with such refreshing candidness that she instantly takes you into her heart. The first three quarters of the film deals with her relationship with the aunt she has lived with for years (the wonderful Mona Washbourne, best known as Mrs. Pearce in "My Fair Lady"), facing a confrontation with an old beau (Alec McCowen) whom she loves but cannot commit to out of her own fears of intimacy, and facing her own mortality as Washbourne gets weaker. Jackson discusses the issues with society, commenting on the middle class's snobbery and revealing a touching story of an old man she witnessed being escorted out of a posh tea shop. She then faces her greatest challenge: a meeting with Queen Elizabeth which is not without its folly. An anecdote concerning the Queen Mother is very funny, especially when considering Jackson's presence on the House of Commons for many years.
Stevie Smith was obviously a complex woman, yet quite charming in spite of her personal issues that prevented her from seeking relationships with men past the general friendships she made with them. Jackson goes out of her way to make you feel like you know this character inside and out, and yet instill her with a bit of mystery. Washbourne, too, makes you see who her character is with her love of sherry, her want of seeing Jackson settle down with a nice man, and ultimately as she gets older, her neediness and sad advance into old age. The last scene with her is one to reach for a Kleenex. Trevor Howard has a few odds and ends appearances by himself, describing his friendship with Stevie, and in the last reel, actually getting a chance to appear with her. This is a film that on concept might seem like it could bore you to sleep, but it is one that is surprisingly magical, with a combination of performances, writing, directing and most important overall, humanity, making it an absolute must.