by Douglas Messerli
Lorenzo Semple Jr (screenplay, based a novel by Stephen Geller), Noel Black
(director) Pretty Poison / 1968
Noel Black’s 1968 film Pretty
Poison was critically loved by most film reviewers, but was absolutely
hated by its female lead, Tuesday Weld, and by many theater-owners. 20th-Century
Fox could not, at first, even find a New York venue and the film was shown
eventually at a small theater, becoming a flop, despite praise from Pauline
Kael, Rex Reed, and several others.
As Dennis Pitt,
Anthony Perkins plays a disturbed young man who, as a teenager, burned
Even though
Dennis immediately disobeys his probation orders by refusing the lumber yard
job to which he’s been assigned, we still see him as an affable young man, who
is attracted to a blonde drill-marching high school beauty, Sue Ann Stepenek
(Weld); and his anger that the small chemical factory in which he is working is
highly polluting the nearby waters will win over any of those who care about
the environment.
True, he attempts
to attract Sue Ann in a highly eccentric way by pretending to be a government
spy, and peppering his sentences with the clichés of the genre. But when it
works, we perceive that the young straight-A student has long been ready for
adventure as well, and we go along with this odd pairing.
It is she,
moreover, who not only is ready to play along with his quite obviously hokey
game-playing, but pulls him immediately into a sexual relationship of which he,
much later, wryly observes: “You do have quite a capacity of loving.”
More than the man
it is clear that what Sue Ann loves most is her independence, which little by
little she uses Dennis to get. But even this, at first, seems almost natural,
since her mother
A short while
later, she insists that he take her off to Mexico. When Dennis arrives, she is
busy packing, calmly deciding which dresses to take with her, as she is
delighted now that the true adventure will begin.
When her mother
returns earlier than expected, Sue Ann almost blandly insists that he kill the
older woman; and when Dennis cannot commit the act, she takes up the gun and
calmly shoots her mother dead, while Dennis, clearly disgusted by the turn of
events, vomits into the nearby bathroom toilet.
Knowing that she
will be believed when she claims he has done the deed, Dennis admits to the
crime, the weeping Sue Ann recounting how he has forced her his way into her
life and taken her hostage.
Fortunately, he
does. For at film’s end, we see her flirting with another young man to whom she
reports that the people who have taken her in after her mother’s death won’t
let her go out much at nights, presumably planning through this new
acquaintance to do something about the situation.
Pretty Poison is, in many respects, a
kind of mix between Godard’s wild couple of Pierrot
le Fou and Arthur Penn’s Bonnie and
Clyde. But unfortunately, the year in which was released saw the
assassinations of both Robert Kennedy and Martin Luther King Jr., which surely
made Hollywood executives wary of promoting such a comic presentation of
murder. In the years since, fortunately, this film gradually found its
audiences, becoming almost a cult classic.
What doesn’t usually get said about this film, however, is just how misogynistic it truly is. As the sexist film commentator Gator MacReady argues in Eye for the Film:
“His only real crime is falling for the wrong girl. Once
again, it's his weird personality that ends up damning him.
If you're a guy,
the lesson is don't fall in love with the wrong girl, no matter how pretty she
is. It's the pretty ones that end up being the most poisonous. Trust me. The
Gator knows. If you're a girl, the lesson is don't be a bitch. Pretty much all
guys are innocent until a woman comes along and screws them up. Prove me wrong,
kiddies. Prove me wrong.”
The problem
really seems to be that poor Dennis, like so many of Perkins’ characters, isn’t
fully straight and certainly hasn’t had any time previously to really be around
women, and accordingly has a nearly impossible time determining which woman to
trust. And the most dangerous among them are particularly pretty blonde
cheerleaders or high school overachievers (see Jaime Babbit’s But I’m a
Cheerleader of 1999 or the same year’s other naughty female black comedic
figure Tracy Flick of Alexander Payne’s Election) who know just how to manipulate
such pure Pierrots.
We can well understand
why Weld didn’t particularly relish her nonetheless quite brilliant portrayal. And,
in retrospect, we see why audiences of the day would find since female
ruthlessness unthinkable. But in a generation that is perfectly able to
assimilate cartoon figures into their depictions of daily life—a genre in which
writer Lorenzo Semple Jr was something of a genius—we can now easily recognize
this unintentionally LGBTQ+ masterpiece as a work of wonder.
Los Angeles,
August 13, 2017
Reprinted from World
Cinema Review (August 2017).
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