One wonders if any of this would have transpired had Edith Ewing Bouvier (known as "Big Edie") and daughter Edith Bouvier Beale ("Little Edie") merely been garden variety eccentrics, instead of quasi-celebrities (the aunt and cousin, respectively, of Jacqueline Kennedy Onassis, nee Bouvier). On the other hand, there's a certain can't-turn-away-from-a-car-accident fascination that comes with watching the two Edies at home in their rundown, squalid East Hampton, Long Island estate (they were ordered to fix the place up before the documentary was shot, but it's still a dump, albeit a large one). With her endless parade of different "costumes," every one of them featuring a scarf, a towel, or some such material wrapped around her head (then in her mid-fifties, she had an oddball fashion sense that's a big part of her now-iconic status), Little Edie is quite a character. Considerably less appealing is her mother, a bitter, poisonous woman who apparently pressured her daughter to move back home and care for her after Big Edie's husband quite understandably abandoned her in the early 1950s. "My whole life, I've been ground down and insulted every minute," Little Edie confides to the camera, but she gives as good as she gets; the two of them squabble endlessly, mostly about past events and the careers they might have had (Big Edie as a singer, her daughter as a dancer and model). There are obviously many viewers who find this sort of terminal dysfunction appealing, even charming. For others, words like annoying and tedious may be more appropriate. And while The Beales of Grey Gardens offers more evidence that the two women actually cared for one another (there's also a good deal more interaction between the Beales and the filmmakers, along with various other visitors), it's essentially just more of the same. --Sam Graham
Stills from Grey Gardens (Click for larger image)
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