PLAY IT AS IT LAYS (1972)

Title: PLAY IT AS IT LAYS

Year of Release: 1972

Director: Frank Perry

Genre: Drama

Synopsis: An actress reflects upon her rollercoaster life while living in a sanitarium.

Within a film history context: Films with a film actress character as a lead protagonist have been featured from the silent era. One of the earliest examples was Maurice Tourneur's A GIRL'S FOLLY (1917). A young woman from the country wants to escape her surroundings, and one day finds a film crew shooting a western in her hometown. She becomes acquainted with the lead actor, who suggests she pursue acting, but dreams clash with reality for her in this comedy. Another silent, SOULS FOR SALE (1923), directed by Rupert Hughes, followed a young woman who decides she wants to be a star, but her husband's reputation may put the brakes on this ambition. A silent considered lost, William C. de Mille's THE RUNAWAY (1926), starred Clara Bow as a young actress who believes she might be indicted for a man's murder, and runs away. She is then taken in by a man from the country, but several surprising events ensure life does not weary her. BROKEN HEARTS OF HOLLYWOOD (1926), directed by Lloyd Bacon, is another rare movie. In this instance, contrasts are drawn between two women, one a former actress returning to the screen, the other her daughter, a newcomer seeking fame. Both mother and daughter are cast in the same film, but backstage fracas threaten their union. King Vidor's silent SHOW PEOPLE (1928), was a Marion Davies property, with a young woman from Georgia yearning for stardom, but getting involved in wacky antics, and romantic escapades. The 1930s also had varied views of film actresses.

The sound SHOW GIRL IN HOLLYWOOD (1930), directed by Mervyn LeRoy, was about a Broadway actress whose show closes, and aspires to go to Hollywood. but finds the path to stardom very difficult. A mood of mystery permeated Hamilton MacFadden's THE BLACK CAMEL (1931). A film actress is murdered, and detective Charlie Chan investigates this crime, finding the actress enmeshed in a tangled chain of events. One of the most notable movies about a film actress was WHAT PRICE HOLLYWOOD? (1932), directed by George Cukor. A waitress makes a career change, becoming a Hollywood actress, meanwhile the career of the director who discovered her is tarnished by his alcoholism. In contrast, the tone was comic in William Beaudine's MAKE ME A STAR (1932). A Hollywood actress assists a young man to work in a western, with many amusing passages as a result. TWENTIETH CENTURY (1934), directed by Howard Hawks, centered around a stage director, and his protege, a young woman, telegraphing their fraught, but funny relationship. As his career nosedives, hers soars in this comedy with John Barrymore, and Carole Lombard in the lead roles. Another famous movie about a film actress was William Wellman's A STAR IS BORN (1937). A young woman finds Hollywood fame, and meets her idol, a film actor. After a courtship the couple marry, but his alcoholism plunges their marriage, and lives, into turmoil. 

Less serious was EXPENSIVE HUSBANDS (1937), directed by Bobby Connolly. A Hollywood actress finding difficulty in getting parts travels to Europe, where a Prince becomes an important part of her life, but all is not what it seems. Reinhold Schunzel's THE ICE FOLLIES OF 1939 (1939), was about a budding impresario wanting to produce a skating extravaganza, casting a woman in the show, later his wife, but their venture is unsuccessful. When the woman is signed by a film studio, her husband's dream takes a backseat, but all is well by the end as the show is a smash. HOLLYWOOD CAVALCADE (1939), directed by Irving Cummings, followed a young silent film star, and her platonic relationship with a director, which continues into the sound era. Walter Lang's STAR DUST (1940), was more comic in tone. The journey of a young woman to stardom was charmingly captured, with Linda Darnell in the main role of a starry-eyed acting aspirant. THE MIRACLE OF THE BELLS (1948), directed by Irving Pichel, was an intricate picture about a movie star who dies before her first film is released, and is brought back to her hometown for her burial, in accordance with her final wishes. The film charts not only what happened to this point, but also, how the movie will be released in light of the death of its leading actress, with a number of perspectives featured. 

One of the leading motion pictures about film actresses was Billy Wilder's SUNSET BOULEVARD (1950). A silent film actress dreaming of returning to the screen, and her dalliance with a screenwriter, was vividly brought to the screen, with Gloria Swanson as the star, and William Holden as the hapless writer. Another film which examined a silent screen actress, albeit in a breezier vein, was SINGIN' IN THE RAIN (1952), directed by Stanley Donen, and Gene Kelly. The difficult transition to sound for a silent film actress was one of the tales of this fondly remembered musical. George Cukor's THE ACTRESS (1953), was a retelling of the early life of noted actress and writer Ruth Gordon, the screenplay by Miss Gordon herself. Another George Cukor film, A STAR IS BORN (1954), was a remake of the 1937 movie with Janet Gaynor. The story has been altered slightly, with the main female character, played by Judy Garland, now a singer who becomes a successful actress. The real-life story of Hollywood and Broadway actress Lillian Roth was the focus of Daniel Mann's I'LL CRY TOMORROW (1955). With Susan Hayward as Miss Roth, it followed her rise to fame, and subsequent issues with alcohol, which considerably curtailed her career. 

Mirth was the main function of WILL SUCCESS SPOIL ROCK HUNTER? (1957), directed by Frank Tashlin. In this satire of television and advertising, an ad man requests an actress to be the spokeswoman for a lipstick company, which she accepts. The catch is that the actress wants him to act as her other half, a concept which does not go down well with the ad man's girlfriend. George Sidney's JEANNE EAGELS (1957), was a biopic of the early 1900s stage and screen actress who fell into addiction, and personal tragedy. Liberties were taken with true events which blunted the impact of the movie. In utter contrast, THE FEMALE ANIMAL (1958), directed by Harry Keller, spotlighted a love triangle between an aging actress, her nubile daughter, and a film extra who has a thing for both of them. Most notable as the final picture of Hedy Lamarr, it also included Jane Powell as her daughter, George Nader as the object of their affections, Jan Sterling, and Mabel Albertson. Much more insightful was John Cromwell's THE GODDESS (1958). A young woman's life change from poverty, to international fame as a movie star, with all her insecurities laid bare, was a showcase for Kim Stanley in the lead as the unfortunate film goddess. The biopic of Diana Barrymore, daughter of John Barrymore, thespian extraordinaire, was the crux of TOO MUCH, TOO SOON (1958), directed by Art Napoleon. Miss Barrymore's drug and alcohol addiction, and strained family, and personal relationships, made up the content in this drama. 

The 1960s brought Richard Brooks' SWEET BIRD OF YOUTH (1962), to the screen. The study of a drifter, and his relationship with a movie star whose career is on a downward spiral, gave Paul Newman, and Geraldine Page pithy lead roles. Off-the-wall in terms of its content was WHAT EVER HAPPENED TO BABY JANE? (1962), directed by Robert Aldrich. The uneasy relationship between two sisters, one a former silent screen star, the other her sister, was what dominated the picture, with Bette Davis, and Joan Crawford in the lead roles. Two films about movie legend Jean Harlow were released in 1965, the first being Alex Segal's HARLOW (1965). With Carol Lynley as Miss Harlow, it was critically derided, and a box office flop. The second HARLOW (1965) movie, directed by Gordon Douglas, was better received, and a moderate financial success. Carroll Baker starred as the ill-fated Jean Harlow, also with Ginger Rogers in her final film role as Miss Harlow's mother. Robert Mulligan's INSIDE DAISY CLOVER (1965), was about the life, and loves of a young woman who becomes a top Hollywood star in the 1930s, with Natalie Wood as Daisy. VALLEY OF THE DOLLS (1967), directed by Mark Robson, featured three young women striving for success in Hollywood, but finding that their private lives unraveled in a unseemly fashion. Critically ravaged but a huge box office success, it was based upon the best seller by Jacqueline Susann. Robert Aldrich's THE LEGEND OF LYLAH CLARE (1968), starred Kim Novak as an actress who is cast in the role of a late, famous star, and the troubles she encounters in this odyssey. PLAY IT AS IT LAYS was a movie that intimately outlined the life of its main character, actress Maria.

PLAY IT AS IT LAYS shared affinities with the more serious-minded movies about a film actress, such as SOULS FOR SALE, WHAT PRICE HOLLYWOOD?, A STAR IS BORN, SUNSET BOULEVARD, THE ACTRESS, I'LL CRY TOMORROW, JEANNE EAGELS, THE GODDESS, TOO MUCH, TOO SOON, SWEET BIRD OF YOUTH, INSIDE DAISY CLOVER, both HARLOW titles, and THE LEGEND OF LYLAH CLARE. There is an intense focus upon a single protagonist, and the audience comes to understand her passions, flaws, her good side; in essence, complete portraits are drawn of the respective character. The post-war examples after 1950, beginning with SUNSET BOULEVARD, are darker in tone, and execution, than those from beforehand. These also offered more full-blooded portrayals than the uplifting sketches of actresses which SHOW PEOPLE, ICE FOLLIES OF 1939, and STAR DUST presented. The genteel tone of the 1940s pictures, and previous movies, was largely abandoned, with the exception of THE ACTRESS. Other aspects of PLAY IT AS IT LAYS also warrant discussion. 

With its concentration on a single character, PLAY IT AS IT LAYS did not contrast Maria with other female characters, something which BROKEN HEARTS OF HOLLYWOOD, SINGIN' IN THE RAIN, and VALLEY OF THE DOLLS successfully executed within their narrative structures. The first two movies pitted two women against another, one a mother and a daughter, the other two actresses. VALLEY OF THE DOLLS was of interest as the lives of three actresses are actively compared, and contrasted throughout the course of the picture. Their relationships with men, mental stability, and how they personally handle the various issues which occur to them are also something which PLAY IT AS IT LAYS relays, albeit with a single character instead of three. Additionally, the earlier movies such as WHAT PRICE HOLLYWOOD? and both A STAR IS BORN films, give an impression of a monogamous, conservative heroine, something which is shattered after SUNSET BOULEVARD. Norma Desmond's liaison with a screenwriter in that film, the characters of THE FEMALE ANIMAL, THE GODDESS, and Neely in VALLEY OF THE DOLLS, to name but a few examples, of more liberated female personal behaviour. This also fits with the messy life of PLAY IT AS IT LAYS' Maria, and her various dalliances with the opposite sex. A deep look into the existence of a troubled movie actress, PLAY IT AS IT LAYS is one of the most complicated examples of this captured on film.

 

Overview: Frank Perry directed fourteen feature films between 1962 and his final one being released in 1987. He generally made films which were character-driven in nature, peering intensely into the psychology of his protagonists, making audiences understand situations on a more profound emotional level. His first motion picture, DAVID AND LISA (1962), was an initial example of his insightful filmmaking. An examination of mental illness, and the relationship between two young people affected by this, it was a sympathetic account of love encumbered by prejudice, specifically those of other, less sensitive, and informed, people. Next came LADYBUG LADYBUG (1963), which was centered around the effect on students, and personnel, of a school of a possible nuclear attack. It was a film that explored the Cold War theme, with further films of the era dealing with the topic such as Sidney Lumet's seminal FAIL SAFE (1964), and Stanley Kubrick's DR STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964). 

One of Frank Perry's most beautiful, thoughtful films was THE SWIMMER (1968). With Burt Lancaster in the lead role, it was a powerful, touching story of a man whose life had faltered, the viewer sharing his many past triumphs but also, his failures. Another film dealing with young adults, vastly different in nature from DAVID AND LISA, was directed by Frank Perry. In the late 1960s LAST SUMMER (1969), made its way onto cinema screens. An envelope-pushing, compelling story of three teenagers, two men and one woman, playing love games on a lush island, their idyll disrupted by a young woman who changes the dynamics of this threesome, was notable for earning an 'X' rating for its rape sequence. Cuts were made to downgrade its classification to an 'R' rating, but it remained a powerful and thought-provoking film. A career-changing movie for actors Barbara Hershey, Bruce Davison, Richard Thomas and Catherine Burns, its uncompromising presentation immeasurably raised the director's profile. This, and many of the movies Frank Perry made in this era were in collaboration with wife Eleanor before their divorce in 1971, but they made one more together which was notable in film history.

DIARY OF A MAD HOUSEWIFE (1970), told the story of a woman in a destructive relationship who embarks on an affair with a writer. As with DAVID AND LISA and LAST SUMMER, it was an up-close look at a situation which could actually occur in real life, drawing acclaim for its director and writers but also, actress Carrie Snodgress in the lead role, and Richard Benjamin as her errant husband. In one of his first movies without Eleanor Perry, RANCHO DELUXE (1975), was not a high point for Mr Perry. The story of two cattle rustlers in Montana suffered from a lackadaisical script and unemotional presentation, but some good performances could not save it. The remainder of Mr Perry's output was varied, ranging from the controversial MOMMIE DEAREST (1981), based upon Christina Crawford's book about her problematic relationship with adopted mother, actress Joan Crawford, to Mr Perry's final film, HELLO AGAIN (1987), a comedy-fantasy of a woman who dies, but is reincarnated by her sister. PLAY IT AS IT LAYS was Frank Perry's eighth film, and a sound, if overwrought, picture.

With PLAY IT AS IT LAYS, Frank Perry has made a challenging movie experience for viewers. It is the story of a film actress, depicting the collision of her professional, and personal lives, which lead her to mental illness. The director closely follows the trials and travails of his protagonist Maria, her shaky relationships with men, and clearly explains the reasons she becomes ill. The movie is the less-sweeping, more intense version of THE SWIMMER, showing the lead character's personal downward spiral. This movie had a beauty, and philosophy in its structure which is missing from PLAY IT AS IT LAYS, which has a negative tinge about it. In addition, PLAY IT AS IT LAYS is also much less positive in tone than DAVID AND LISA, with no romantic ideals, or happy endings present. In this way, it could be seen as reflecting the rawness of life rather than an aspirational view. PLAY IT AS IT LAYS, though, is the cinematic personification of the double-edged sword. On the one hand, PLAY IT AS IT LAYS is daring in its scope with its cut and dry presentation, on the other hand, this is one of the things which make it hard to watch.

In examining the relentlessly tortured life of Maria, Frank Perry has juxtaposed long scenes with short ones which function in an informative manner to highlight her unsettled life. This does work to a degree, but it can become jarring over the film's running time to witness the range of different sound effects which often introduce new scenes. The intention may have been artistic, to shock the audience to maintain attention on Maria's life, but it has the opposite effect in many cases. Aside from this, and in an associated way, PLAY IT AS IT LAYS is presented in a bloodless, apathetic manner. Despite convincing performances, the overall lack of tangible emotion works against the movie. Not having relatable emotions played out during the course of the film does pigeonhole the characters, making them seem more like pawns in the full scope of things. Identification with the plight of Maria, and those with whom she comes into contact, is more on the level of curiosity than real involvement. While the movie may be watchable as a whole, it is more on the basis of the performances holding it together than what occurs to the characters. An original but exacting movie, PLAY IT AS IT LAYS is not one of Frank Perry's best achievements in looking over his oeuvre.

Acting: PLAY IT AS IT LAYS contains fine acting from a quartet of performers. In the lead role of Maria, Tuesday Weld is in one of her best screen performances. An engaging actress with a quivering voice, and steely presence, here does excellent work as the troubled actress. As B.Z., Maria's film director, Anthony Perkins is likewise in one of his formidable acting interpretations. An actor who after PYSCHO seemed to be typecast in sociopathic roles, in the film melds well with Tuesday Weld, feeding off each other, which is one of the picture's best assets. Maria's husband Carter is likewise given thorough treatment by Adam Roarke. While many times playing villains and bikers on screen, here Mr Roarke has the opportunity to display his more complex, passionate side as Carter. The last acting of note was by Roger Ewing as Nelson, B.Z.'s lover. A tall, blonde actor with a relaxed, humorous charm, he makes his presence felt in a short scene at the beach house. Unfortunately, this was Mr Ewing's final film role, and it would have been interesting to have seen more of Nelson, given his strong, inimitable aura.

Soundtrack: One of the distinguishing features of PLAY IT AS IT LAYS is its lack of a musical soundtrack. There is no music played during either the opening or closing credits, the visuals stand alone in this respect. There are some isolated uses of diegetic music, such as Maria's car ride with Johnny Waters, but these are few and far between. Voice-overs by Maria are one of the film's main non-diegetic features where she expands upon her life for the viewer. The overall effect of a dearth of musical accompaniment, though, is one of starkness, reflecting the movie's somber, serious tone.

Mise-en-scene: There is a careful use of locales within the narrative which lend PLAY IT AS IT LAYS authenticity. The movie vividly paints Maria's life as one of revealing contrasts. From her calming beach house, riding in the sportscar, incoherent by the side of the road, to her movie location shooting in the rugged Mojave Desert, to name but a few examples, one can readily discern the tumultuous life of Maria on a subtle, non-verbal plane.

Notable Acting Performances: Tuesday Weld, Anthony Perkins, Adam Roarke, Roger Ewing.

Suitability for young viewers: No. Infrequent coarse language, adult themes.

Overall Grade: C

Link: IMDB Page