With Love, Mommie Dearest: The Making of an Unintentional Camp Classic

by A. Ashley Hoff, Bruce Vilanch (Contributor)

When she died in 1977, Joan Crawford was remembered as an icon of Hollywood's Golden Age—until publication the following year of her daughter’s memoir, Mommie Dearest .

Christina Crawford’s book was an immediate bestseller, addressing the infrequently discussed topic of child abuse.

When Paramount Pictures released the film, starring Faye Dunaway as Crawford, it was critically panned, and remains one of the most legendary critical bombs in film history. The lavish, big-screen adaptation drew unexpected laughter in the scenes depicting life in the Crawford household. Rarely have such good intentions been met with such ridicule.

Despite this, the movie was a commercial success and remains, four decades later, immensely popular. With Love, Mommie Dearest details the writing and selling of Christina's book and the aftermath of its publication, as well as the filming of the motion picture, whose backstage drama almost surpassed what was viewed onscreen in the film.

Based on new interviews with people connected to the book and the film, Hollywood historian A. Ashley Hoff explores the phenomenon, the camp, and the very real social issues addressed by the book and film.

Genres: Nonfiction, History, Film, Audiobook, Media Tie In, Pop Culture, Biography

314 pages, Paperback

Published May 7, 2024

About the author

A. Ashley Hoff is the author of Match Game 101: A Backstage History of Match Game. He previously worked for talent agencies in Chicago and Los Angeles and has written articles on Hollywood for the Advocate and Films in Review. He has been interviewed on numerous pop culture subjects in magazines such as Closer Weekly and on various local talk shows and podcasts such as The Nick Digilio Show on WGN Radio, The Frank DeCaro Show on Sirius XM, and the podcast Feast of Fun.

Reviews

[jess · Rating 4 out of 5]

Even though I was born well after Joan Crawford passed away, I grew up with her films and the camp classic Mommie Dearest, thanks to my own mother. Due to this, I was excited to listen to this audiobook and I thoroughly enjoyed this deep dive into the making of this film and ate up all the behind-the-scenes gossip about both Faye Dunaway and Joan Crawford. It was interesting to hear what went into making this movie and all the ways in which it almost never made it to the big screen. I also think that this did a good job interrogating the movie's mixed legacy as it's embraced as an enduring over-the-top comedy when its source material is anything but.

I thought that the audiobook narrator did a good job and I think that this story worked well in this format. There was a bit of repetition in some of the stories throughout the book, and sometimes I got a little confused about who was being quoted and who they were. Overall, I really enjoyed this and highly recommend it to all fans of Joan Crawford, Faye Dunaway, Mommie Dearest, and old Hollywood in general. Honestly, I can't wait to annoy everyone with random anecdotes and juicy facts from this book.

Many thanks to Tantor Audio and NetGalley for providing me with the ALC in exchange for my honest review.

[Lois · Rating 4 out of 5]

This audiobook was made available for me to listen to and review by A. Ashley Hoff, Tantor Audio, and NetGalley.

Kim Niemi was the narrator of this nonfiction history of the making of this movie and writing of this biography. Her voice is the perfect balance of serious and light. This tale has elements of surprise as well as farcical, this narrator manages to pull off both equally well.

Much of this narrative revolves around old Hollywood, both the original biography and the making of the film. I grew up in the 80's and this movie was a part of the cult media from that time period. I wasn't old enough to see this in theaters but I remember watching it on HBO. I've seen scenes from the movie, like the infamous wire hanger scene, spoofed on everything from Mad TV to RuPaul's Drag Race. The movie is a cultural phenomenon all on its own. I've never read Christina Crawford's biography but I've wondered about it. This nonfiction narrative offers the history of the biography, the movie and all of the stars involved in the making of both. The text is fascinating, light, fun and enlightening. I'm too young to really have grown up watching the height of Faye Dunaway's movie career and the most I knew about Joan Crawford before this book was unfortunately from the movie Mommie Dearest. So this offered a much appreciated education on the true story behind the movie and how the biography was received. This narrative primarily supports Christina's version of her childhood which fits our current understanding of the impact of childhood trauma and abuse and I've always personally believed. Not all of the scenes in the famous movie are taken from the book and this goes over who added the scene and what it was supposed to convey. I had heard that Faye Dunaway regretted her role in this movie and was disappointed it was received as camp despite its cult classic status. This goes over both Dunaway & Crawford's Hollywood legacies, including their history and reputation in the business. Christina's voice, so to speak, is threaded throughout this entire narrative and adds a note of authenticity to an otherwise odd piece of history.
This is a worthy biography of events that offers a multi-view approach to the telling of this fascinating tale of old Hollywood and how it functioned. I greatly enjoyed this and finished it in an afternoon. Then promptly watched the movie!

Thank you to A. Ashley Hoff, Tantor Audio, and NetGalley for the opportunity to listen to and review this audiobook. All opinions and viewpoints expressed in this review are my own.

[Jen · Rating 5 out of 5]

I received this for review from the publisher. I simply loved every second of this book. The narrator was great, you could tell she was familiar with the movie when she would reference lines and parts of the movie. I think one of my favorite things about the book is that you not only get tidbits about the movie but also tidbits about Joan’s real life. Whether you are a fan of the movie, book, or Joan there’s something for everyone in this book. One of the funny things about Mommie Dearest was that for good or bad all these years after her death, people are STILL talking about Joan Crawford. And as they say in Hollywood these days, any press’s is good press. Joan managed to not get cancelled and people are still talking about her today, and I love that!

[Amy · Rating 4 out of 5]

This book was filled with trivia surrounding the book and the making of the film. Did you know about the necklace worth a fortune that mysteriously disappeared on set? Can you imagine the story as a rock opera? Would you have gone to see it? It almost happened. It discussed the views of the children regarding Joan Crawford and the book itself. We learned about the boundaries that Faye Dunaway had and how far she was willing to go to make sure the performance was as true to the spirit of the story as possible. Overall, I found this book to be fascinating and the narrator’s performance was exquisite.

I thank NetGalley, TanTor Audio, and A. Ashley Hoff for the ALC of this book and the opportunity to share my honest thoughts and opinions with others.

[Andrew Smith-Mebust · Rating 5 out of 5]

BARBARA PLEASE! PLEASE BARBARA!

My husband and I love the camp classic film MOMMIE DEAREST. If you’re a fan of the movie MOMMIE DEAREST, then this a perfect companion piece. It’s very detailed, going from start to finish of the film, and has lots of different points of view and information about the filming of the movie. I purchased the audiobook and really enjoyed the narrator. One of my top books this year, highly recommended!

[Douglas Gibson · Rating 5 out of 5]

A must read for fans of Mommie Dearest, Faye Dunaway, Joan Crawford, Hollywood, camp, and Mara Hobel completists!

[Riley G.]

DNF at 3% after a use of the F-word, as well as a use of the S-word and a sex reference. Not the kind of language I want to be listening to. Sad, because the premise seems interesting—the making of the movie Mommie Dearest. (I’ve never seen it, but I’ve heard of it.) Oh well.

***I received an ARC (audiobook) from NetGalley in exchange for an honest review. These are my honest opinions.

[Bert · Rating 4 out of 5]

A book that seems hell-bent on tearing down both Joan Crawford and Faye Dunaway. It makes me wonder…why write about two people you clearly don’t like? So much of it feels unnecessarily snarky and catty.

That said, I did enjoy it! The research is thorough, the writing is solid, and there’s plenty of fascinating, entertaining information. Plus, I love that a book exists about Mommie Dearest, an all-time absolute camp classic.

3.75 stars.

[David · Rating 4 out of 5]

If you’re “A FAAAAANNN!!!” of Mommie Dearest, Joan Crawford or behind-the-scenes tell all books…this one has all those elements! A fun and quick read about what went on behind the scenes of this camp classic that was released back in 1981.

While it’s not perfect, some of the stories tend to get repeated thus giving the impression the author might have been getting paid by the word, it still made for a very entertaining read.

[Alexa · Rating 3 out of 5]

There were gems in here, but there was also an excess of padding.

I would have been happier with more highlights from the original Mommy Dearest book and quicker mentions of how the movie went along. The social commentary and tabloid gossip is why I picked up the book in the first place.

[Miranda · Rating 2 out of 5]

Honestly, a bit repetitive. The book was written in the order of the movie, but some of the things mentioned started to seem redundant. Interesting overall, still glad I read it.

[Tim Pinckney · Rating 3 out of 5]

This was actually a lot of fun. There are lots of interviews with people that were on set during the filming (primarily the actress who played Carol Ann - who self published her diaries from the shoot - and Mara Hobel, who played young Christina.) It's fascinating to hear the story of what was intended to be a big budget and an important film and watch it become a cult classic.

[Sammi Wallschlaeger · Rating 4 out of 5]

The audiobook/reader is amazing. The story surrounding the film is so much fun and it is told in a way that keeps it feeling like hot goss from start to finish. Loved it!

[Nicola Wardle · Rating 4 out of 5]

If all true she was not very nice and should not of looked after children

[Julian Kennedy · Rating 4 out of 5]

With Love, Mommie Dearest: The Making of an Unintentional Camp Classic by A. Ashley Hoff (2024): 7 out of 10: There is something to be said for a book that has a very good beginning and a very good ending. As I said about Ready Player One, that covers a lot of sins in the middle. With Love, Mommie Dearest: The Making of an Unintentional Camp Classic is not a perfect book. In fact, there are whole stretches where it feels less like a finished book and more like the author’s research notes arranged in roughly chronological order. But when it finally gets to what we are all here for, the release of Mommie Dearest, the public reaction, the transformation into camp, and the ongoing Faye Dunaway fallout; The book pulls itself together beautifully.

A. Ashley Hoff’s book tells the story of the making of Mommie Dearest, the 1981 film based on Christina Crawford’s infamous memoir about her adoptive mother, Joan Crawford. What began as a prestige drama about abuse, stardom, Hollywood mythology, and mother-daughter trauma somehow became one of the great unintentional camp classics. The movie gave the world “No wire hangers ever!” and, perhaps even more impressively, helped turn Faye Dunaway’s already difficult reputation into something approaching a Hollywood cautionary tale.

The book begins very well. Hoff clearly knows the territory. He understands old Hollywood, studio politics, actors’ egos, the difference between Broadway people and film people, and the way Hollywood is both a glamour factory and a very small town where everyone knows everyone else. He also did the work. He interviewed numerous people, dug through their backgrounds, and assembled a genuinely entertaining behind-the-scenes account.

At first, this is exactly what one wants from this sort of book. It is not a dense academic study, nor should it be. We are not here to discuss mitochondria. This is a gossip book, a Hollywood war-stories book, and a making-of book about a movie that accidentally became more famous than many better movies. On that level, it often works very well.

It also helps if you are in the right demographic sweet spot. I was alive when Mommie Dearest came out. I was a teenager. I remember the reaction to the movie and the whole question of whether Christina Crawford was exposing a terrible truth, getting revenge on her dead mother, or some complicated combination of both. I also know who Joan Crawford, Barry Diller, Michael Eisner, Anne Bancroft, Mel Brooks, and Faye Dunaway are without needing a lot of explanatory handholding. The book seems to assume that its readers have at least some familiarity with these people, which worked for me but may leave younger readers wandering around looking for a map.

The early material is full of good stories. Anne Bancroft was originally attached to the project, but the script and director issues never lined up. Mel Brooks apparently read the material and saw what many people had not yet seen: this thing was playing a lot closer to comedy than drama. So Mel gets some credit for calling the turn early and helping get his more dramatically minded wife off the hook.

Then, of course, there is Faye Dunaway.The book is almost painfully even-handed about Dunaway for much of its run. For every story about her behaving like a monster on the set, there is another paragraph about how she was a perfectionist who demanded the best. For every complaint about her attacking crew members, there is another quote about how wonderful she could be. Some of this is fair. Some crew members and craftspeople clearly continued working with her, so she was not universally hated. Some of her complaints were apparently correct, including details about Joan Crawford’s look and costuming. Perfectionists are sometimes right. That is one of the things that makes them so exhausting.

But there is a difference between difficult and impossible. There is also a difference between being demanding and leaving decades of scorched earth behind you.

The book eventually seems to accept the weight of evidence. By the final third, Hoff essentially takes the gloves off, and the Dunaway stories become numerous, specific, and extremely believable. They come from different decades, different productions, different states, different countries, and different types of people. After a while, this is not smoke. It is a forest fire.

One of the most striking stories involves a man who had once seen Faye Dunaway with her parents in New York and remembered it fondly. Years later, he found himself seated next to her at the Hollywood Bowl and mentioned what a pleasant memory it was. Dunaway reportedly responded by screaming at him for bringing up her parents. That is not merely diva behavior. That is something closer to a total failure of social calibration.

And the stories keep coming. Dunaway screaming at the crew. Dunaway threatening jobs. Dunaway accusing people of being in her eyeline. Dunaway’s theater behavior becoming fodder for gossip columns. In one stage production, the situation apparently became so unbearable that the play was canceled just before curtain because the crew fled as if Godzilla had come out of the harbor.

Having worked with and adjacent to people with this sort of personality, I found much of this painfully believable. There is a type of “perfectionist” whose perfectionism always seems to require someone else’s humiliation. Method acting often becomes an excuse to be an asshole, and while Faye Dunaway was undeniably a great actress in many roles, one has to ask whether the juice was worth the squeeze.

The book is also good on the film’s release and afterlife. This is where With Love, Mommie Dearest finally becomes the book it always should have been. Hoff covers the initial reaction, the audience laughter, the gay community embracing the movie as camp, and Paramount’s surprisingly deft decision to lean into the madness with advertising like “No wire hangers ever!” and “The mother of all movies.” Naturally, the producers were furious and sued or threatened legal action, and Paramount backed away after the damage, or rather the successful marketing, had already been done.

This is the fun stuff. This is the reason to read the book. It is also interesting to be reminded that Mommie Dearest was not a financial disaster. It made money. It became culturally famous. It was mocked, yes, and became one of the early Razzies’ punching bags, but Dunaway’s performance also had defenders. Some critics thought she was doing serious work. The New York Film Critics reportedly had her as a runner-up. The comparison to Patty Duke in Valley of the Dolls comes up, with the idea that a single camp performance can do major damage to an actress’s career until she learns to embrace it.

I am not sure I entirely buy the Patty Duke comparison. After seeing Duke in that Amityville Horror movie with the haunted lamp, I would think that would be the career killer if anything was. But the larger point stands: sometimes a performance escapes the movie it is in and becomes something else entirely.

The later material also has a certain melancholy. Dunaway’s career after Mommie Dearest did not recover in the way one might have expected from an actress of her stature. She did Supergirl, which bombed, though not because of her. She did theater. She continued working, but the aura changed. The book makes a compelling case that Mommie Dearest did damage, but it also makes an equally compelling case that Dunaway herself kept making the same bed and then lying in it.

America loves a redemption story. Val Kilmer was once almost as notorious as Dunaway as someone you did not want to work with, and then illness, age, and Top Gun: Maverick softened the public view of him. Dunaway may yet get some similar late reassessment. You never know. But the book leaves the impression that, if her story is tragic, it is at least partly a tragedy she helped write.

The Good: The best thing about With Love, Mommie Dearest is that Hoff has the right instincts for Hollywood gossip. He knows the players, he knows the business, and he knows a good war story when he hears one. The book is filled with memorable bits: Bette Davis declaring on The Tonight Show that Faye Dunaway was the one actor she would never work with again; Mel Brooks recognizing the comic absurdity of the project early; the competing visions of Christina Crawford’s husband wanting more child abuse while Dunaway’s boyfriend wanted more glamorous 1950s Hollywood; and Paramount realizing that the movie’s accidental camp value might be its strongest selling point.

The book also benefits from its willingness to complicate Joan Crawford. It does not simply present Joan as a mustache-twirling monster. There are moments that suggest she could be maternal, gracious, helpful, and beloved by fans. The story of Joan stepping into Christina’s soap-opera role when Christina was ill is genuinely touching, even if the book also makes it very easy to believe Joan was drunk while doing it.

That grayness matters. Abuse stories are often forced into simple shapes: monster and victim, liar and saint, good parent and wicked child. Real life is rarely that neat. A parent can be abusive and still be occasionally loving. A parent can do actual damage and still not be evil every minute of the day. Alcohol, blackouts, denial, image management, and old Hollywood discipline all muddy the waters. Hoff is strongest when he lets that complexity breathe.

The final third is excellent. Once the film is released and audiences begin reacting to it as camp, the book finds its subject. The marketing pivot, the lawsuits, the laughter, the gay audience embrace, the critical divide, the Razzies, and the long afterlife of “No wire hangers” are all exactly the material the book was born to cover.

The Bad: The middle of the book has a serious “Oops, All Potatoes” problem. There is a great deal of background. Then there is more background. Then there is background about the background. At a certain point, we are not merely learning about the making of Mommie Dearest; we are learning what restaurant the crew liked, which restaurant was easier to film in, which restaurant was across town, and where that nice Mexican place was. This is the point where a troubled Hollywood production history sounds like an old lady talking to you on a municipal bus.

The problem is not that Hoff failed to research the book. Quite the opposite. The problem is that he seems reluctant to leave anything out. If he interviewed someone, found an article, or located a production detail, it often appears to go into the book whether or not it belongs there.

There is a difference between “Mr. or Mrs. X has a story about something that happened on set” and “Mr. or Mrs. X has an interesting story about something that happened on set.” The book sometimes treats these as the same thing. They are not.

The clearest example is the material on an actor hired for a minor role involving the Pepsi boardroom sequence. He was hired, moved around, possibly upgraded in the scene, then apparently not used much or not used at all. It is the sort of story that might be perfectly pleasant if a man told it to you three beers into a conversation at a bar. But in the book, at that length, one starts asking why it is here.

The same goes for some of the scene-by-scene breakdowns. The movie is available. One does not necessarily need a prose version of every scene that was filmed or cut. A making-of book should not just be a DVD commentary with better punctuation.

The ugly part is that the book sometimes reads less like a finished book than like the author’s research notes.

The story of the actress playing the older Christina (Diana Scarwid), for example, is genuinely pleasant. She had been in Hollywood for years, was homesick for Savannah, and was thinking about going home, marrying a local boy, having children, and maybe acting once in a while. It is a nice story. I enjoyed it. I am just not entirely sure what it is doing in this book at that length.

That is the recurring issue. There is nothing wrong with tangents in nonfiction. Without tangents, most self-help books would collapse into a long email. But a tangent needs a purpose. Too often here, the tangent seems to exist because Hoff found it, liked it, and put it in.

The Dunaway material also suffers early from a lack of evidentiary sorting. Public press-tour quotes praising her do not mean very much, especially when she is sitting next to the person being quoted. People are not going to badmouth the star of a movie while promoting the movie. People are also not always going to speak ill of the dead, and in Dunaway’s case, some people may not want to speak ill of the vindictive living either.

A nonfiction writer does not have to force every fact into a thesis, but he does need to weigh the facts. Who was speaking publicly? Who was speaking privately? Who had a paycheck to protect? Who was afraid of being sued, screamed at, or socially punished? Who was simply being polite? The book eventually gets there, but it takes longer than it should

In Conclusion: With Love, Mommie Dearest is an entertaining, well-researched, overstuffed book that finally figures out what it wants to be in the last third. When it is about old Hollywood, Faye Dunaway, Joan Crawford, Christina Crawford, studio panic, camp audiences, and the strange cultural afterlife of Mommie Dearest, it is terrific. When it is about which restaurant was easier to film in and what an extra remembers about standing near a Pepsi boardroom scene, it is less compelling.

The book could have used a stronger content editor. Not a copy editor, the prose is clean enough, but someone willing to say, “This is interesting to you because you researched it, but it is not necessarily interesting to the reader.” There are too many pages where that distinction matters.

Still, I recommend it. The good parts are very good, and the ending is strong enough to redeem a lot of the middle. Like the movie it covers, With Love, Mommie Dearest is messy, excessive, fascinating, and occasionally much more entertaining than it probably meant to be.

No wire hangers. Some extra trimming, though, would have been appreciated.

[Jessie · Rating 3 out of 5]

As it turns out the making of Mommie Dearest is just as unhinged as Joan Crawford herself. If you haven't watched the movie, you can still enjoy this book. The book details the making of the movie, from pre production to opening night and beyond. It also deals with Joan Crawford's legacy. At the time Christina Crawford's book was controversial, and many people did not want to see their favorite movie star in a negative light. Now I think Mommie Dearest (both book and moving) are many peoples main reference for Joan Crawford. The book also details about how such a serious movie ended up as a camp classic.

[Maddie Chyczij · Rating 4 out of 5]

This is kinda like a second mommie dearest, but about Faye Dunaway? LOL

OK, so she’s not that bad, but I didn’t realize that she was such a diva! I have a gripe to pick with anyone who chooses to method act, but to method act as a child abuser? I am not a fan. It’s not enough to make me hate her other movies… But I’m kind of pissed at her for how she reacted to people on this set. Making someone wait six hours just because Joan would? Ick. Respect your studio, your set, your fellow actors, and their time. There were definitely some positive things said about Faye in this book, but it’s a personal bias that I just really can’t stand someone like that.

I like reading this as someone who doesn’t 100% understand the camp of mommie dearest. I’ve seen it twice now, and read Christina’s memoir. And while I totally see all the overacting moments, to me it’s just kind of a bad movie? I don’t get the joy that a lot of the queer community does out of it. However, it was really fun to read this and kind of get a little bit of another perspective on it. It didn’t completely change my mind, but it made me less angry about why the movie is bad. Clearly this movie was made with people who had a fear of being fired and a lot went wrong. So of course the movie was terrible. The craziest part of this book was how out of touch so many people were when making it. How did they not read the script, or watch it get made, and go: WOW, this is a mess?!

The best part about this book was for sure checking in with all the people who were a part of it. It’s too bad Faye doesn’t have a good spirit about it, because I would’ve loved to have seen her perspective. Apparently, even in her memoir, she doesn’t say much. But checking in with all the child actors and bit parts in it? That was so fun. Hearing all the little stories was a treat. I love movie lore, and I love hearing things about movies going wrong.

This book definitely could’ve been shorter. In my opinion, there were times I zoned out for sure. But I understand wanting to have a through line and tie everything together. I feel that way about a lot of non-fiction though so that’s not a huge critique. I’m very much someone who likes to learn something and get to the point, and a lot of non-fiction novels have too much filler for me. But I’ve of course learned that not everything is going to be for me!

If you’re a fan of the movie, this was worth a read. Or if you hate the movie, this was worth the read LOL. Definitely rewatch it before reading, because there’s a lot of references and the audiobook narrator does a great job throwing her whole self into the imitation of the lines. Very impressed with her 😂

Oh, and remember: no wire hangers!

[Marco · Rating 5 out of 5]

"Christina, bring me the axe!"

"No more wire hangers!"

"Mommie Dearest", which I don't think anyone who writes or does commentary on it wants to admit, is a horror movie. It's Pennywise ("It") raising children. But it wasn't meant to be this campy horror film, it was supposed to be a serious look at parental abuse and in this case at the hands of a beloved superstar, Joan Crawford. "With Love, Mommie Dearest" by A. Ashley Hoff goes into detailed research on the film to show how at once it's a piece of cinematic history and a failure at many turns.

One, it makes stuff up. The haircut scene? Made up. Joan being let go from MGM? She wanted out of her contract. Two, everyone overreacts in it. EVERYONE. Who's fault is it? Many blame actress Faye Dunaway for her Crawford performance (always late to set, changing hair and costume choices right before filming, removing anyone who upstaged her) while the director and producer blame themselves- they told Dunaway to act this way and should have reigned her in. And three, they never really stuck to Christina Crawford's memoir, the original title and base for the movie "Mommie Dearest". Instead, Dunaway wanted to focus on Crawford's career and, unfortunately, make excuses for the abuse Christina claimed happened ("stress", "alcoholism"). Behind this story are people who either believe or not the abuse happened and wanted the film to erase or heighten what was said to have happened. Instead you get a film that can't decide if Crawford is a heroine who fought against a misogynist system or an abuser, not able to fully realize she was both.

The book is very detailed and also gets a lot of interviews with those directly involved in filming - from the very scandalous beginning of getting the rights to the book, to the multiple screenplays, to Anne Bancroft originally its star. It also goes scene by scene to discover how the film was made- with so many intense scenes (you'll be relieved to know filming the wire hanger scene irl wasn't as traumatic), and how the studio had a hit on their hands when it premiered in the '80s - for all the wrong reasons and went along with it. It's also a testament to Crawford and Dunaway.

[David Marshall · Rating 4 out of 5]

There are plenty of delightful bad movies, (Valley of the Dolls leading the pact as the greatest God awful movie of all time), and Mommie Dearest almost makes it onto the list. The one thing holding it back is the subject matter, child abuse, which is a topic that it is hard to laugh at, let alone attend a screening dressed as a 1940s movie star brandishing a wire hanger. Still, anyone who has seen the film knows that although lush and it's star looking eerily close to the movie star turned deranged monster, can't help but find the entire production not only misses the mark of treating the subject seriously, but does it in a manner that can't help but evoke not only giggles but a guilty pleasure at seeing the famous in an glaring bad light. The problem, like that of Valley, was the over the top zeal in which the lead actress performs and the assurance of the producers, leading actress and director's certainty that they are creating a meaningful masterpiece. The result of such earnestness, was that rather than capturing the horrors of child abuse, the film ended up being a camp classic-- unintentionally, just as the title of the book suggests. The leading actress's career was forever tarnished, not only for her overly intense performance but by her actions during the filming and reading about the trials and frustrations of her fellow actors and crew evoke the sympathy and concern that should have been applied to the author of the memoir the film is based on. But the fact that the movie missed the mark and now is watched, repeatedly, as high camp entertainment, is what makes this "the making of" book an equally guilty pleasure. Great fun but also sad, not only for Christina Crawford seeing her horrors made into a comedy but everyone involved, including Faye Dunaway and the producers, who had created what they had hoped was an Oscar contender before they slowly realized their own delusions of grandeur.

[Michelle · Rating 4 out of 5]

With Love, Mommie Dearest dives into the tumultuous world behind making the 1981 film Mommie Dearest, transforming what began as a memoir into a camp comedy classic. The audiobook offers an in-depth look at how wealth and beauty do not necessarily equate to happiness and how being the child of a star can bring its own set of unique challenges. The narrative weaves through numerous quotes and interviews, shedding light on the intricate dynamics of Hollywood life and the volatile nature of stardom. This approach provides a rich tapestry of perspectives, though the audiobook might have benefited from a full cast to truly bring these diverse voices to life and create a more immersive experience.

For those eager to uncover all the behind-the-scenes tea on the actors, production, and the book that inspired such a cult phenomenon, With Love, Mommie Dearest doesn’t disappoint. It delves into Faye Dunaway's notorious reputation for being difficult on set—a label she rebuffs, instead describing herself as a perfectionist striving for the best possible performance. However, the book doesn’t shy away from addressing her overacting, contributing to the film's unintended hilarity and eventual status as a camp classic. Upon its release, the reactions to the film were a mix of shock and amusement. Audiences in theaters were often left incredulous at the series of hysterical scenes that seemed more like exaggerated pantomime than serious drama. The reaction of Christina Crawford, whose memoir the film was based on, was one of distress. Seeing her painful experiences transformed into what many saw as a farce was understandably upsetting.

With Love, Mommie Dearest captures the essence of this transformation from memoir to movie to cultural artifact, illustrating how a story meant to expose the dark side of Hollywood glamour turned into a comedic spectacle. It’s a fascinating listen for anyone interested in film history, celebrity culture, or the ways in which personal stories can be reshaped and reinterpreted by the media.

Quick Summary: With Love, Mommie Dearest offers an entertaining and insightful exploration of a film that has endured in popular culture for its unintentional comedy and dramatic excess. While the audiobook is engaging, a full cast performance could have elevated the experience, making it even more dynamic and interactive. Nonetheless, it remains a must-listen for fans of the original movie and anyone curious about the complexities of life under the spotlight.

[Rusty · Rating 5 out of 5]

I was delighted to find this book on the "New non-fiction" shelf of my local library. The only thing more exciting would have been if Faye Dunaway had actually written her account of filming the movie.

As a gay, adopted child who grew up with an abusive (and very likely manic depressive) mother, I was mesmerized by the book when it came out - Christina Crawford's book resonated with me. I'm not going to join in the "Is the book true or not?" argument - it is not for me to say.

What is true is that the movie version was so riotously over the top that the message of child abuse is lost. I'm of the camp that believes Dunaway actually gives a near-brilliant performance as Crawford; had director Frank Perry reined her in, it would have been a performance for the ages.

I do remember seeing Mommie Dearest in the theater and howling along with everyone else; later on the movie was shown at the Castro Theater in SF along with Mildred Pierce - an astoundingly inspired double feature.

As I know virtually every line of Mommie Dearest, and its backstory, I didn't expect to learn much from this book. I was pleasantly surprised to learn some things I never knew, such as the disaster that struck the set on the first day of filming, and other tidbits.

I recommend this book for "FAAAAAAAAAAAAAAAAAAANS!" (or foes) of the book and movie, fans of Hollywood stories, and anyone, like me, who has ever watched a movie so jaw-droppingly awful in every respect that they have asked, "HOW did this movie EVER get made?"

[Raymond G. Neal · Rating 4 out of 5]

This book covers all aspects of the movie, the production, the release, and the aftermath. The author does a great job of providing context to allow the reader to understand the movie's cultural impact, its public reception, and the resulting fallout. About 3 quarters in, the book got down into some minutae and production details that pushed me to my limit, but it got back on track pretty fast. The author is respectful of Joan's legacy as an actress and icon, but it's also respectful of the movie and drives home the point that Christina's book and the movie prolonged Crawford's relevance in the popular imagination and is a large part of the reason we still discuss her today and why audiences continue to discover and appreciate her work and her legacy. The book does lean into humor, but the movie was a train wreck, and watching it unfold is fascinating. If you're a fan of the movie, reading this book is a no-brainer. Even the Christina haters can enjoy the book to just vicariously witness the movie's failures as they happened, and the whiplash cast and crew experienced when they realized how audiences were responding to what they considered a prestige, Oscar worthy film. It also explores the forces at play that resulted in the film becoming an instant camp classic. Highly recommended if you're into this type of thing.

[AL · Rating 5 out of 5]

Extremely insightful. I grew up watching this movie on HBO and found it deeply intriguing as a kid. I was heartbroken for Christina and her brother but almost taken by Dunaway’s Crawford who seemed so elegant, broken and sad onscreen.

It’s easy to be pulled into the time and the costumes and high expectations of Crawford while watching the film but this book pulls you out of their romanticized yet tragic lifestyle and directly behind the scenes which, unfortunately, both mirrored Crawford’s antics and truly impacted the careers of those involved.

We’re able to see the effect on Dunaway, on Christina Crawford and on the actors and crew on the film. It certainly wasn’t the film that all set out to make but not lacking in effort and still a success all the same. Even if it ended up a campy success. Unfortunately for Dunaway, it’s as if she’s taken on the criticism of Crawford’s naysayers and perhaps has mirrored similar antics herself meanwhile, Christina seems to have found a way to use the film to her advantage, whether or not she cared for it

[Michelle "Champ" · Rating 4 out of 5]

I am going to admit, when I saw Mommie Dearest in the 80s, I00% loved the exaggerated actions of a movie star mom and her stubborn daughter (I was about 8 years old). Then when I got older, I read the book. I could not believe that I have misunderstood the movie and had to hunt it down and watch again. At that time, I had a whole new view on what happened in real life. This book interested me right from the start because I have since watched the movie and read the book, many times. I think Faye was brilliantly cast as Joan and this book helped me understand why she was so perfect for the role. What I also liked about this book was that we got to see what Maura and Diana (young and teenaged Christina) thought of the movie and the process of making the movie.

I do believe this book is for anyone that loves the film, but also a reader that wants to get the backstory behind such classic lines as “No wires hangers, EVER”.

thanks to NetGalley for letting me get my hands on this one.

[RebL · Rating 3 out of 5]

This book is the movie's "making-of" featurette from the DVD extras. However — and how many times do I have to say this about books this year? — it needs an editor. The storytelling wibble-wobbles all through time, sometimes there's pronoun trouble (does "she" refer to Joan or Faye?), and it can't decide if it's a dishy he-said-she-said tell-all or a straightforward outline of what went down on set.

Not sorry I read it, but some may find the format challenging, and I will probably never re-read. 3.5 stars.

[Emily · Rating 4 out of 5]

As a survivor of child abuse and a watcher of mommie dearest being like "this reminds me of my childhood" I find the legacy of this movie fascinating. I think this book does a good job of examining the cultural legacy of this movie as well comparing all the perspectives of how this movie was made (and became frankly, insane). I think it could have done with some more critical analysis of why the American viewers (especially gay men) are so keen to laugh at this story, but overall a really well written and incredibly well researched account of this story.

[Scott · Rating 4 out of 5]

The first chapter is my favorite. Just knowing that the producer, director and star all thought they had an oscar caliber drama on their hands up and until audiences showed them differently, is a thrilling revelation for a fan like me. It also explains why the movie is such a masterpiece of camp. They say all good comedy should be played deadly serious? Well Faye played it that way and thank the stars! Too bad she doesn't accept all the love and adoration we're all just dying to heap on her for it!

[Reid Loveland · Rating 5 out of 5]

A Fascinating Look Behind the Scenes

The author does a great job of discussing the creation and filming of the movie Mommie Dearest, but goes deeper looking at Joan Crawford's life, was Christina telling the truth in her book, and why the movie turned out the way it did. With interviews of people who worked on the film or behind the camera (with the thoughts & memories of one actress unsurprisingly absent) the author has created one enjoyable read.

[Michael Mckinney · Rating 3 out of 5]

Interesting book on a bad movie that has become a camp and cult classic. I found some of the stories fascinating and sad. Faye Runaway is a brilliant actor but a troubled soul. So was the actor she was playing, Joan Crawford. The. Book is well researched and captures the scenes on set and behind the scenes. The book repeats itself too much, so much so, it became annoying. Overall fans of the campy side of the film will enjoy this book.

[Jonathan Papa · Rating 5 out of 5]

Great Read

I thought I already knew a fair amount about the making of Mommy Dearest but I learned some new things . I was especially happy that there was mention of Henry Mancini my favourite film composer and his contribution to the film . This is a fabulous intelligent read for us fans . If you know Mommy Dearest in all its darkness and light than you know this book is for you .