“No more wire hangers ever” is one of Hollywood’s most memorable lines, and it almost didn’t make it to the screen.
In 1981’s “Mommie Dearest,” Faye Dunaway, who played Joan Crawford, was hesitant about performing the movie’s most notorious scene where Crawford physically disciplines her adopted daughter Christina, played by Mara Hobel.
“It was a traumatic filming situation for Faye,” author A. Ashley Hoff shared. “It’s one of the reasons she’s reluctant to discuss the film today.”
Hoff’s new book “With Love, Mommie Dearest: The Making of an Unintentional Camp Classic,” explores how the film evolved from a box office failure to a cult classic, featuring new interviews with the cast and crew.
Dunaway, now 83, did not participate in the book. Her spokesperson did not respond to a request for comment.
“Joan Crawford once identified Faye as one of Hollywood’s greatest stars,” Hoff explained. “This mutual respect attracted Faye to the role. Faye hoped to present a more comprehensive view of Crawford. Unfortunately, the film she signed onto was ‘Mommie Dearest.’”
Based on Christina Crawford’s 1978 tell-all, “Mommie Dearest” paints a harsh picture of Joan Crawford, accusing her of being a cruel and abusive alcoholic. Joan Crawford, who passed away in 1977, disinherited Christina and her adopted brother Christopher.
Hoff claimed Dunaway was initially against filming the violent scene.
“She didn’t want to be seen hitting Mara,” said Hoff. “Stand-ins were used for both Mara and Faye during the actual hitting. Faye struggled with the scene, having mixed feelings throughout.”
Dunaway hoped to soften the harsh public perception of Joan Crawford, focusing on her struggles as an aging actress. She resisted the scene’s violence but eventually went through with it using stand-ins.
Mara Hobel, now 53, recounted to Hoff that she wasn’t particularly disturbed by the scene.
“There was a mannequin or something like it for one shot,” Hobel recalled. “The other shots used me, but I was insulated with layers, so I didn’t feel pain from the hanger.”
Technical adviser Jonathan Zimbert agreed the scene was tough to shoot.
“Faye knew her character would be viewed as a monster if she fully performed the scene as written, so she held back,” Zimbert said.
For years, rumors have swirled about Dunaway’s difficult behavior on set, which Hoff addresses in his book.
“I spoke to both actors and crew,” Hoff said. “Many criticized Faye, feeling her behavior was abusive, while others believed she took her work very seriously.”
Dunaway’s perfectionism often meant arriving late to set after meticulously preparing her appearance, causing mixed opinions among the production team.
Despite differing opinions on her behavior, Dunaway sought perfection in her performance. Hoff ultimately leaves the judgment to the reader.
Christina Crawford, now 85, has also distanced herself from the film, feeling it exaggerated many aspects for drama.
“There are several scenes heightened for dramatic purposes,” Hoff explained. “Christina felt the film didn’t support her cause and included fictionalized elements.”
Yet, Hoff argues that the ongoing conversation about the film’s merits means it cannot be dismissed as bad.
Four decades later, “Mommie Dearest” remains a topic of debate, offering both entertainment and therapeutic value, depending on the viewer. According to Hoff, the fact that the film still garners attention suggests it has left a lasting impact.