Grey Gardens 1976 PG CC

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(334) IMDb 7.7/10
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Meet Big and Little Edie Beale--high-society dropouts, mother and daughter, reclusive cousins of Jackie O.--thriving together amid the decay and disorder of their ramshackle East Hampton mansion. An intimate portrait and an eerie echo of the Kennedy Camelot, Albert and David Maysles's 1976 Grey Gardens quickly became a cult classic and established Little Edie as a fashion icon and philosopher queen.

Edith 'Little Edie' Bouvier Beale, Edith Bouvier Beale
1 hour, 36 minutes

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Grey Gardens

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Product Details

Genres Documentary
Director Ellen Hovde, Albert Maysles, David Maysles, Muffie Meyer
Starring Edith 'Little Edie' Bouvier Beale, Edith Bouvier Beale
Supporting actors Brooks Hyers, Norman Vincent Peale, Jack Helmuth, Albert Maysles, David Maysles, Jerry Torre, Lois Wright
Studio The Criterion Collection
MPAA rating PG (Parental Guidance Suggested)
Captions and subtitles English Details
Rental rights 3-day viewing period. Details
Purchase rights Stream instantly and download to 2 locations Details
Format Amazon Instant Video (streaming online video and digital download)

Customer Reviews

And through it all they try to make sense of their strange little lives--just like us.
R. Geatz
Little Edie's sense of fashion is truly "revolutionary" and has been copied and imitated by several designers.
Serena Williams
Most of the time, these two women, mother and daughter, could hardly even pass as friends let alone blood.
G. A. Skala

Most Helpful Customer Reviews

323 of 331 people found the following review helpful By Westley VINE VOICE on December 6, 2005
Format: DVD
"Grey Gardens" is a one-of-a-kind documentary exploring a mother-daughter relationship. These aren't just two anonymous people though; instead, the film chronicles Edith Bouvier Beale and her daughter, "Little Edie," who just happen to be the aunt and cousin of Jackie Kennedy Onassis. The filmmakers, Albert and David Maysles, initially intended the film to be about Jackie's sister, Lee Radziwill. However, after being introduced to Edith and Little Edie by Lee, they decided to shift the focus.

What makes these two women so interesting? First, they live in a giant decaying mansion (the titular "Grey Gardens") in luxurious East Hampton. The family was extremely wealthy at one time, until Edith divorced and lost most of her money. She apparently stayed in the 28-room Grey Gardens mansion despite a lack of money for upkeep. The women show pictures of themselves from years earlier, and they were obviously beautiful society scions. However, they became more and more isolated from society as they hunkered down into their mansion At one point, the mansion was even raided by East Hampton officials, who wanted to evict the pair due to the unsanitary living conditions. Jackie subsequently helped them clean up the mansion.

All of this action, though, occurs before the film starts in 1975 (some of the back story is presented in pictures and newspaper stories). In fact, in the documentary, not much new happens: the women continue their bizarre existence in the mansion and argue. They argue a lot. Every conversation is filled with their remembrances of better times, when Little Edie was desired by wealthy men and Edith carried on an affair with a pianist. This life is so far removed from their current surroundings, and their regrets about that disparity quickly surface.
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141 of 144 people found the following review helpful By Serena Williams on January 27, 2002
Format: DVD
This stellar portrayal of two women, a mother and daughter, who spend their days in a run down house and are ironically aunt and cousin to Jackie O, displays documentary film-making at its very best. Although much has been said about the film, the focus always tends to emphasize the sordid living conditions that Edith Bovier Beale and her unmarried daughter, Little Edie inhabit, in an old estate in Easthampton, New York. Their house has been condemned by officials in Easthampton, and they live with cats and raccoons, but they don't give a damn about it. They are virtual recluses in their upscale community, "full of nasty Republicans." However, the film is not about the squalor that most of us would balk at in conventional situations. Their surroundings are only a backdrop and metaphor for the lost opportunities, and isolation that the women are subjected to as societal outcasts. Whether this is by choice, or due to their eccentricities is a mixed bag, but "Big Edie" and "Little Edie" are such magnetically charged women, it is fair to say that they are their own superstars within the world they have created.
Much of the film's pathos is magnified by the mother and daughter relationship. Little Edie, once a gorgeous, brilliant young woman feels she has been forced to sacrifice her life and a potential career as an entertainer, to look after her mother. Big Edie, once a veritable beauty in her day, was written out of her father's will for her aspirations to become a singer, and after her divorce retreated to her sea-side estate to spend the rest of her days. It is apparent that both women are extremely co-dependent, but in spite of their inherent needs to look after each other, Little Edie is full of resentment over the arrangement.
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106 of 112 people found the following review helpful By Jay Dickson VINE VOICE on March 17, 2006
Format: DVD
The Maysles Brothers' famous 1975 documentary of a former society mother and her grown daughter (both former cousins of Jackie Onassis and both named Edie Beale) falling to pieces in their similarly-dilapidated East Hampton mansion has acquired a consider cult following over the years due to the Miss Havisham qualities of its subjects, who once both were great wealthy beauties and have fallen to bare subsistence living (and who both seem clearly mentally ill). The Maysles have been greatly criticized for showcasing these women as circus oddities, but as little Edie makes clear in a tape-recorded interview included in this beautiful Criterion Collection edition, both women loved the chance to have the attention given to them; the film also made it possible for little Edie to follow her dream of moving to NYC to work, albeit briefly, as a cabaret star.

But it would also seem wrong simply to characterize the two women as free spirits doing their own thing and being fabulous, as many of the films' cultists are mistakenly wont to do: GREY GARDENS at times seems a genuine hell for the women as well as for the viewer, who must endure the mother and daughter occasionally shrieking menacingly at one another over one another's words. And Little Edie seems like a lost fourth sister from Chekhov, bemoaning her lost chances at matrimony and escaping to the big city. But both women seem intelligent despite their moments of mental confusion, and Little Edie's editorializing during a Dr. Norman Vincent Peale radio broadcast (one of the film's highlights) shows her sharpness as well as her wicked sense of humor. And it is precisely the discomfort that the film occasions -- its refusal to sentimentalize these down-but-not-yet-out society survivors -- that makes it seem so memorable, and such a comment on the American tendency to trash the past even while nostalgically clinging to its wreckage.
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