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* BoxOfficeBomb:
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* BoxOfficeBomb:
* DVDCommentary: The commentary is done by Creator/JohnWaters, as he's a fan of the film and doesn't consider it all that campy. He actually makes some very interesting points while managing to be totally hilarious.
Changed line(s) 28 (click to see context) from:
** Faye Dunaway, considering nobody could take her seriously after this role.
to:
** Faye Dunaway, considering nobody could take Prior to this, Creator/FayeDunaway was in ''Film/BonnieAndClyde'', ''Film/{{Chinatown}}'', and ''Film/{{Network}}''. And after? ''Film/{{Supergirl}}'' and ''Film/DunstonChecksIn''. Dunaway's performance was especially polarizing, earning the acclaim of the notoriously CausticCritic Pauline Kael on one hand but a Razzie award for Worst Actress on the other. Despite having become a Cult Classic since, Dunaway has had nothing but bad things to say about the film and her seriously after this role.performance, and in her later years refused to even talk about it.
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* StarringAStarAsAStar: Creator/FayeDunaway as Creator/JoanCrawford.
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* AFIS100Years100HeroesAndVillains:
** #41 Villain, Creator/JoanCrawford
* AFIS100Years100MovieQuotes:
** #72, "No wire hangers, ever!"
** #41 Villain, Creator/JoanCrawford
* AFIS100Years100MovieQuotes:
** #72, "No wire hangers, ever!"
to:
* AFIS100YearsSeries:
** AFIS100Years100HeroesAndVillains:
** *** #41 Villain, Creator/JoanCrawford
* ** AFIS100Years100MovieQuotes:
** *** #72, "No wire hangers, ever!"
** AFIS100Years100HeroesAndVillains:
* BillingDisplacement: Second-billed Diana Scarwid does not appear until 1 hour and 15 minutes into the movie.
Changed line(s) 9,10 (click to see context) from:
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
* DisownedAdaptation: Christina Crawford felt the film was awful too for going [[UpToEleven overboard]] in making her mom Joan a HateSink, saying "my mother didn't deserve ''that''".
* DisownedAdaptation: Christina Crawford felt the film was awful too for going [[UpToEleven overboard]] in making her mom Joan a HateSink, saying "my mother didn't deserve ''that''".
to:
** There was a long The pressbook for the film goes into detail about several of the scenes, including one sequence filmed, that was cut from the film. Apparently they filmed an entire sequence where young Christina runs away from home and Joan goes out looking for her in her car. The classic cars that were necessary for the car.
film caused a big stir in the neighborhood where the scene was filmed, and one of the people stopped in traffic so as not to ruin the scene was Creator/BarbraStreisand, who apparently spent time hanging out with Faye Dunaway between takes.
** The lobby cards issued for the film contain scenes from several sequences that were deleted from the final cut of the film, including: Joan driving through the MGM lot in her car, apparently just before she visits Louis B. Mayer and finds out she's fired and adult Christina talking to Joan while wearing the same dress she wears to the awards ceremony at the film's conclusion.
* DisownedAdaptation: Christina Crawford felt the film was awful too for going [[UpToEleven overboard]] in making her mom Joan a HateSink,saying "my saying:
-->My mother didn't deserve''that''".''that''. (Faye Dunaway)'s performance was ludicrous. I didn't see any care for factual information. Now I've seen it, I'm sorry I did. Faye says she is being haunted by mother's ghost. After her performance, I can understand why.
** The lobby cards issued for the film contain scenes from several sequences that were deleted from the final cut of the film, including: Joan driving through the MGM lot in her car, apparently just before she visits Louis B. Mayer and finds out she's fired and adult Christina talking to Joan while wearing the same dress she wears to the awards ceremony at the film's conclusion.
* DisownedAdaptation: Christina Crawford felt the film was awful too for going [[UpToEleven overboard]] in making her mom Joan a HateSink,
-->My mother didn't deserve
Changed line(s) 13,17 (click to see context) from:
* HeyItsThatPlace: Christina's soap opera set is the Cunningham home from ''Series/HappyDays''.
* {{Parody}}:
** ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest", in which his hypothetical child berates his father's performance in the movie version of ''Film/{{Popeye}}''.
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}}, her daughter Lordes, and Music/BarbraStreisand act out the scene in which Joan Crawford nearly strangles her daughter Christina to death, and Barbra just [[PassThePopcorn sits there and watches while eating popcorn]].
* {{Parody}}:
** ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest", in which his hypothetical child berates his father's performance in the movie version of ''Film/{{Popeye}}''.
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}}, her daughter Lordes, and Music/BarbraStreisand act out the scene in which Joan Crawford nearly strangles her daughter Christina to death, and Barbra just [[PassThePopcorn sits there and watches while eating popcorn]].
to:
* HeyItsThatPlace: HeyItsThatPlace:
** Christina's soap opera set is the Cunningham home from''Series/HappyDays''.
* {{Parody}}:
''Series/HappyDays''. The kitchen is identical and the very recognizable living room can be viewed behind the actor sitting at the kitchen counter.
**''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' The scene where Joan gets out of the cab in their AfterTheEnd satire front of ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest", inChristina's apartment was actually the same exterior used for ''Series/LaverneAndShirley'''s Milwaukee apartment, which his hypothetical child berates his father's performance was filmed at Paramount Studios.
** The location seen here as Joan Crawford's Bevery Hills mansion was also used as Jesse White's palatial home in themovie version of ''Film/{{Popeye}}''.
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}},final ''Film/BeachParty'' movie, ''Pajama Party''.
* HostilityOnTheSet: According to Rutanya Alda, Creator/FayeDunaway was despised by the crew due to herdaughter Lordes, unpleasant attitude.
-->Joan got her way in a ladylike way. Faye was despised because she was so rude to people. Everyone was on pins andMusic/BarbraStreisand act out the scene needles when she worked, and everyone relaxed when she didn't. I wish Faye had learned from Joan.
** Little love was lost between Dunaway and costume designer Irene Sharaff. "Yes, you may enter Miss Dunaway's dressing room," Sharaff once said, "but first you must throw a raw steak inwhich Joan Crawford nearly strangles - to divert her daughter Christina to death, and Barbra just [[PassThePopcorn sits there and watches while eating popcorn]].attention."
** Christina's soap opera set is the Cunningham home from
* {{Parody}}:
**
** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest", in
** The location seen here as Joan Crawford's Bevery Hills mansion was also used as Jesse White's palatial home in the
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}},
* HostilityOnTheSet: According to Rutanya Alda, Creator/FayeDunaway was despised by the crew due to her
-->Joan got her way in a ladylike way. Faye was despised because she was so rude to people. Everyone was on pins and
** Little love was lost between Dunaway and costume designer Irene Sharaff. "Yes, you may enter Miss Dunaway's dressing room," Sharaff once said, "but first you must throw a raw steak in
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* PropRecycling: In a 1981 interview with Creator/RogerEbert, Frank Yablans took the famed critic on a tour of the film's set, which he said cost $480,000. During the visit, he made sure to single out one particular piece of furniture. "This chair was originally built as a throne chair for Creator/CecilBDeMille for ''Film/TheTenCommandments''", he told Ebert. "What did we do? We painted it white. It looks perfect in this situation."
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Changed line(s) 17 (click to see context) from:
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}}, her daughter Lordes, and Barbra Streisand act out the scene in which Joan Crawford nearly strangles her daughter Christina to death, and Barbra just [[PassThePopcorn sits there and watches while eating popcorn]].
to:
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}}, her daughter Lordes, and Barbra Streisand Music/BarbraStreisand act out the scene in which Joan Crawford nearly strangles her daughter Christina to death, and Barbra just [[PassThePopcorn sits there and watches while eating popcorn]].
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Added DiffLines:
** ''Madonna Dearest'', in which drag queen artists acting as Music/{{Madonna}}, her daughter Lordes, and Barbra Streisand act out the scene in which Joan Crawford nearly strangles her daughter Christina to death, and Barbra just [[PassThePopcorn sits there and watches while eating popcorn]].
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Changed line(s) 34 (click to see context) from:
** Franco Zeffirelli intended to direct the film, but had a vision of Creator/JoanCrawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.
to:
** Franco Zeffirelli intended to direct the film, but had a vision of Creator/JoanCrawford as a glamorous Hollywood martyr. Christina Crawford Crawford, who wanted her mother to be a despicable HateSink like in her book, disliked this and thus it didn't happen.
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Changed line(s) 6 (click to see context) from:
* CreatorBacklash: Creator/FayeDunaway regrets having played Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made, feeling it went too far making Joan a HateSink.
to:
* CreatorBacklash: Creator/FayeDunaway regrets having played Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made, feeling it went too far making Joan a HateSink.HateSink to a point of {{Narm}}.
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Changed line(s) 6 (click to see context) from:
* CreatorBacklash: Creator/FayeDunaway regrets having played Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.
to:
* CreatorBacklash: Creator/FayeDunaway regrets having played Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.made, feeling it went too far making Joan a HateSink.
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Changed line(s) 10 (click to see context) from:
* DisownedAdaptation: Christina Crawford felt the film was awful too, saying "my mother didn't deserve ''that''".
to:
* DisownedAdaptation: Christina Crawford felt the film was awful too, too for going [[UpToEleven overboard]] in making her mom Joan a HateSink, saying "my mother didn't deserve ''that''".
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Changed line(s) 23 (click to see context) from:
** Creator/FayeDunaway took the part only after Anne Bancroft had passed on it. After winning her Oscar for ''Film/{{Network}}'', she had slowed the pace of her career, doing only three movies and a TV miniseries while she and her boyfriend, Terry O'Neil, tried to have a baby. They finally adopted an infant in 1980, just before production began, meaning Dunaway experienced all the problems new parents experience on top of the demands of the production.
to:
** Creator/FayeDunaway took the part only after Anne Bancroft Creator/AnneBancroft had passed on it. After winning her Oscar for ''Film/{{Network}}'', she had slowed the pace of her career, doing only three movies and a TV miniseries while she and her boyfriend, Terry O'Neil, tried to have a baby. They finally adopted an infant in 1980, just before production began, meaning Dunaway experienced all the problems new parents experience on top of the demands of the production.
Changed line(s) 33 (click to see context) from:
** Anne Bancroft had been cast as Joan initially, but left the project after the screenplay was completed. She viewed the film as a "hatchet-job", many other actresses having turned down the part for it being too unsympathetic towards Joan.
to:
** Anne Bancroft Creator/AnneBancroft had been cast as Joan initially, but left the project after the screenplay was completed. She viewed the film as a "hatchet-job", many other actresses having turned down the part for it being too unsympathetic towards Joan.
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Changed line(s) 6 (click to see context) from:
* CreatorBacklash: Faye Dunaway regrets having played Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.
to:
* CreatorBacklash: Faye Dunaway Creator/FayeDunaway regrets having played Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.
Changed line(s) 8 (click to see context) from:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.[[note]]See below under Troubled Production; at the same time Dunaway wanted to humanize Joan, Christina was fighting to make sure the movie wasn't softpedaling her story the way she was afraid it would[[/note]]
to:
** Faye Dunaway Creator/FayeDunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.[[note]]See below under Troubled Production; at the same time Dunaway wanted to humanize Joan, Christina was fighting to make sure the movie wasn't softpedaling her story the way she was afraid it would[[/note]]
Changed line(s) 17 (click to see context) from:
* MetaCasting: In an interview in the 1970s, Creator/JoanCrawford had said that only Faye Dunaway was among the current crop of actors who "had what it takes" to really become a star. So Joan was played by Faye Dunaway in the movie.
to:
* MetaCasting: In an interview in the 1970s, Creator/JoanCrawford had said that only Faye Dunaway Creator/FayeDunaway was among the current crop of actors who "had what it takes" to really become a star. So Joan was played by Faye Dunaway in the movie.
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Added DiffLines:
* BeamMeUpScotty: It's "No wire hangers!", not "No ''more'' wire hangers!"
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Changed line(s) 2 (click to see context) from:
** #41 Villain, Joan Crawford
to:
** #41 Villain, Joan CrawfordCreator/JoanCrawford
Changed line(s) 5 (click to see context) from:
* CreatorBacklash: Faye Dunaway regrets having played Joan Crawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.
to:
* CreatorBacklash: Faye Dunaway regrets having played Joan Crawford Creator/JoanCrawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.made.
* DeletedScene:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.[[note]]See below under Troubled Production; at the same time Dunaway wanted to humanize Joan, Christina was fighting to make sure the movie wasn't softpedaling her story the way she was afraid it would[[/note]]
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
* DeletedScene:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.[[note]]See below under Troubled Production; at the same time Dunaway wanted to humanize Joan, Christina was fighting to make sure the movie wasn't softpedaling her story the way she was afraid it would[[/note]]
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
Changed line(s) 13 (click to see context) from:
* MetaCasting: In an interview in the 1970s, Joan Crawford had said that only Faye Dunaway was among the current crop of actors who "had what it takes" to really become a star. So Joan was played by Faye Dunaway in the movie.
to:
* MetaCasting: In an interview in the 1970s, Joan Crawford Creator/JoanCrawford had said that only Faye Dunaway was among the current crop of actors who "had what it takes" to really become a star. So Joan was played by Faye Dunaway in the movie.
Changed line(s) 19 (click to see context) from:
** Creator/FayeDunaway took the part only after Anne Bancroft had passed on it. After winning her Oscar for ''Film/Network'', she had slowed the pace of her career, doing only three movies and a TV miniseries while she and her boyfriend, Terry O'Neil, tried to have a baby. They finally adopted an infant in 1980, just before production began, meaning Dunaway experienced all the problems new parents experience on top of the demands of the production.
to:
** Creator/FayeDunaway took the part only after Anne Bancroft had passed on it. After winning her Oscar for ''Film/Network'', ''Film/{{Network}}'', she had slowed the pace of her career, doing only three movies and a TV miniseries while she and her boyfriend, Terry O'Neil, tried to have a baby. They finally adopted an infant in 1980, just before production began, meaning Dunaway experienced all the problems new parents experience on top of the demands of the production.
Deleted line(s) 29,30 (click to see context) :
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.[[note]]See above under Troubled Production; at the same time Dunaway wanted to humanize Joan, Christina was fighting to make sure the movie wasn't softpedaling her story the way she was afraid it would[[/note]]
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
Changed line(s) 32 (click to see context) from:
** Franco Zeffirelli intended to direct the film, but had a vision of Joan Crawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.
to:
** Franco Zeffirelli intended to direct the film, but had a vision of Joan Crawford Creator/JoanCrawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.
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more details
Changed line(s) 24 (click to see context) from:
** Dunaway couldn't stand anyone looking at her while she was acting, so not only were the sets closed, all the other actors had to either stand behind the camera with their backs to her. If they absolutely had to be on the set during the take, Dunaway insisted on the scenes being reblocked so they wouldn't be facing the camera. Rutanya Alda, who played Carol Ann, recalled in her own diary of the production that for one scene that takes place later in the movie's timeline, she wore old-age makeup but Dunaway refused to do so herself, so it looks like she's been time-traveling.
to:
** Dunaway Dunaway's histrionics getting prepared for the part caused numerous delays. As a result there was often time to do only one close-up for any scene involving other members of the cast, making it unlikely to be used. She couldn't stand anyone looking at her while she was acting, so not only were the sets closed, all the other actors had to either stand behind the camera with their backs to her. If they absolutely had to be on the set during the take, Dunaway insisted on the scenes being reblocked so they wouldn't be facing the camera. Rutanya Alda, who played Carol Ann, recalled in her own diary of the production that for one scene that takes place later in the movie's timeline, she wore old-age makeup but Dunaway refused to do so herself, so it looks like she's been time-traveling.
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Troubled Production
* TroubledProduction:
** Creator/FayeDunaway took the part only after Anne Bancroft had passed on it. After winning her Oscar for ''Film/Network'', she had slowed the pace of her career, doing only three movies and a TV miniseries while she and her boyfriend, Terry O'Neil, tried to have a baby. They finally adopted an infant in 1980, just before production began, meaning Dunaway experienced all the problems new parents experience on top of the demands of the production.
** She hoped the part would be her return to the kind of films she had been making in the early '70s that led to her Oscar. She had taken it after producer Frank Yablans and director Frank Perry convinced her they would try to humanize the domineering, abusive mother Christina Crawford had depicted in her controversial bestselling memoir. However, Crawford was afraid the producers were trying to tone it down ... so she got her husband, David Koontz, hired as executive producer to look out for her interests. Dunaway responded by getting O'Neill the same title. And both of them made the most of what would be their only movie credit ever by regularly being present on set and loudly arguing their cause with the producer and director, requiring them to walk an extraordinarily thin line creatively.
** Meanwhile, the role and the method acting Dunaway brought to it was taking a physical and psychological toll on her. She had to keep her face muscles contorted in a particular position to get her Joan Crawford look right, often holding that position between takes despite the pain it was causing her late in the day. At home at night, she found she was unable to leave it at the office, feeling as if she were haunted by Crawford's ghost.
** It all came to a head during the day when they shot the most famous scene in the movie, [[https://youtu.be/tUkE9qaVgmo the "no wire hangers, ''ever''!"]] scene. Many of the crew on set thought she had actually become possessed by the late actress's ghost. After several takes, she collapsed, as O'Neill [[IronicEcho yelled "No more wire hangers!"]] at Perry, meaning they were done with that scene. It turned out that in addition to the nervous exhaustion, she had also destroyed her vocal chords. It took a doctor recommended by Creator/FrankSinatra to get them back to the point where she could speak again, and Dunaway admitted later she lost her passion for the role that day.
** As a result she began to play diva for the rest of the shoot, off camera in addition to the one she was playing on. She refused to work with the historic expert wig maker hired for all the other actresses and instead made the production hire the stylist who had done Creator/GoldieHawn in ''Film/PrivateBenjamin''. Legendary costume designer Irene Sharaff, who had worked with some of the Golden Age's legends (and legendary divas) such as Creator/JudyGarland in her 40 years in the industry, said she'd never worked with anyone as demanding and difficult as Dunaway; eventually she quit the film.
** Dunaway couldn't stand anyone looking at her while she was acting, so not only were the sets closed, all the other actors had to either stand behind the camera with their backs to her. If they absolutely had to be on the set during the take, Dunaway insisted on the scenes being reblocked so they wouldn't be facing the camera. Rutanya Alda, who played Carol Ann, recalled in her own diary of the production that for one scene that takes place later in the movie's timeline, she wore old-age makeup but Dunaway refused to do so herself, so it looks like she's been time-traveling.
** In her own diary, Dunaway says the movie stressed everyone out so much there was no wrap party. However, Alda recalls that there was and Dunaway just didn't show up. It [[http://www.slate.com/articles/podcasts/you_must_remember_this/2016/09/faye_dunaway_in_mommie_dearest_the_real_story.html has been speculated]] that maybe the rest of the cast was so sick of her by that point they just told her there wasn't one.
** The completed film thus became a [[{{camp}} Camp]] [[CultClassic Classic]] and not the serious biopic it was originally hoped it might be. For Dunaway it was arguably a StarDerailingRole, in the sense that she was never able to get her career back on track to what it had been before.
** Creator/FayeDunaway took the part only after Anne Bancroft had passed on it. After winning her Oscar for ''Film/Network'', she had slowed the pace of her career, doing only three movies and a TV miniseries while she and her boyfriend, Terry O'Neil, tried to have a baby. They finally adopted an infant in 1980, just before production began, meaning Dunaway experienced all the problems new parents experience on top of the demands of the production.
** She hoped the part would be her return to the kind of films she had been making in the early '70s that led to her Oscar. She had taken it after producer Frank Yablans and director Frank Perry convinced her they would try to humanize the domineering, abusive mother Christina Crawford had depicted in her controversial bestselling memoir. However, Crawford was afraid the producers were trying to tone it down ... so she got her husband, David Koontz, hired as executive producer to look out for her interests. Dunaway responded by getting O'Neill the same title. And both of them made the most of what would be their only movie credit ever by regularly being present on set and loudly arguing their cause with the producer and director, requiring them to walk an extraordinarily thin line creatively.
** Meanwhile, the role and the method acting Dunaway brought to it was taking a physical and psychological toll on her. She had to keep her face muscles contorted in a particular position to get her Joan Crawford look right, often holding that position between takes despite the pain it was causing her late in the day. At home at night, she found she was unable to leave it at the office, feeling as if she were haunted by Crawford's ghost.
** It all came to a head during the day when they shot the most famous scene in the movie, [[https://youtu.be/tUkE9qaVgmo the "no wire hangers, ''ever''!"]] scene. Many of the crew on set thought she had actually become possessed by the late actress's ghost. After several takes, she collapsed, as O'Neill [[IronicEcho yelled "No more wire hangers!"]] at Perry, meaning they were done with that scene. It turned out that in addition to the nervous exhaustion, she had also destroyed her vocal chords. It took a doctor recommended by Creator/FrankSinatra to get them back to the point where she could speak again, and Dunaway admitted later she lost her passion for the role that day.
** As a result she began to play diva for the rest of the shoot, off camera in addition to the one she was playing on. She refused to work with the historic expert wig maker hired for all the other actresses and instead made the production hire the stylist who had done Creator/GoldieHawn in ''Film/PrivateBenjamin''. Legendary costume designer Irene Sharaff, who had worked with some of the Golden Age's legends (and legendary divas) such as Creator/JudyGarland in her 40 years in the industry, said she'd never worked with anyone as demanding and difficult as Dunaway; eventually she quit the film.
** Dunaway couldn't stand anyone looking at her while she was acting, so not only were the sets closed, all the other actors had to either stand behind the camera with their backs to her. If they absolutely had to be on the set during the take, Dunaway insisted on the scenes being reblocked so they wouldn't be facing the camera. Rutanya Alda, who played Carol Ann, recalled in her own diary of the production that for one scene that takes place later in the movie's timeline, she wore old-age makeup but Dunaway refused to do so herself, so it looks like she's been time-traveling.
** In her own diary, Dunaway says the movie stressed everyone out so much there was no wrap party. However, Alda recalls that there was and Dunaway just didn't show up. It [[http://www.slate.com/articles/podcasts/you_must_remember_this/2016/09/faye_dunaway_in_mommie_dearest_the_real_story.html has been speculated]] that maybe the rest of the cast was so sick of her by that point they just told her there wasn't one.
** The completed film thus became a [[{{camp}} Camp]] [[CultClassic Classic]] and not the serious biopic it was originally hoped it might be. For Dunaway it was arguably a StarDerailingRole, in the sense that she was never able to get her career back on track to what it had been before.
Changed line(s) 20 (click to see context) from:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.
to:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.[[note]]See above under Troubled Production; at the same time Dunaway wanted to humanize Joan, Christina was fighting to make sure the movie wasn't softpedaling her story the way she was afraid it would[[/note]]
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** Franco Zeffirelli intended to direct the film, but had a vision of Joan Crawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.
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** Franco Zeffirelli intended to direct the film, but had a vision of Joan Crawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.happen.
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* GenrePopularizer: As mentioned, Christina Crawford's book started a slew of mean-spirited books written by children of famous actors about their parents' alleged abusive and loose behavior. Lampshaded in ''Series/TheGoldenGirls,'' in a bookstore Sophia says she's going to go browse in the "Bitter children of celebrities" section.
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Crowner called for removing Hey, It's That Voice/Guy examples from trivia pages: http://tvtropes.org/pmwiki/posts.php?discussion=1454613823001793300&page=4#89
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* HeyItsThatVoice: Alfred Steele later [[WesternAnimation/{{Sealab 2021}} took a job as the captain of Sealab]].
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* DisownedAdaptation: Christina Crawford felt the film was awful too, saying "my mother didn't deserve ''that''".
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* HeyItsThatPlace: Christina's soap opera set is the Cunningham home from ''Series/HappyDays''.
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* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
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* {{Parody}}: {{Parody}}:
** ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
** ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
* MetaCasting: In an interview in the 1970s, Joan Crawford had said that only Faye Dunaway was among the current crop of actors who "had what it takes" to really become a star. So Joan was played by Faye Dunaway in the movie.
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* StarDerailingRole: Faye Dunaway, considering nobody could take her seriously after this role.
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* StarDerailingRole: StarDerailingRole:
** Faye Dunaway, considering nobody could take her seriously after this role.
** Faye Dunaway, considering nobody could take her seriously after this role.
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* TruthInTelevision: Some modern audiences are confused at the film where Christina's soap opera seems to be both performed live ''and'' being recorded at the same time. This was a technique called "live tape" where television shows were performed as if live, including timed pauses for commercial breaks, but recorded for later broadcast.
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* TruthInTelevision: Some modern audiences are confused at the film where Christina's soap opera seems to be both performed live ''and'' being recorded at the same time. This was a technique called "live tape" where television shows were performed as if live, including timed pauses for commercial breaks, but recorded for later broadcast.broadcast.
* WhatCouldHaveBeen:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
** Anne Bancroft had been cast as Joan initially, but left the project after the screenplay was completed. She viewed the film as a "hatchet-job", many other actresses having turned down the part for it being too unsympathetic towards Joan.
** Franco Zeffirelli intended to direct the film, but had a vision of Joan Crawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.
* WhatCouldHaveBeen:
** Faye Dunaway talks about a scene between Joan and the young Christina on the beach, where they would have a heart-to-heart. It would explain some of Joan's erratic behaviour and serve to humanise her a little. Dunaway was shocked that such an emotional scene was shot so early in production, and took that as a warning sign that the filmmakers' priorities weren't in the right place. The scene ended up cut.
** There was a long sequence filmed, where Christina runs away from home and Joan goes out looking for her in the car.
** Anne Bancroft had been cast as Joan initially, but left the project after the screenplay was completed. She viewed the film as a "hatchet-job", many other actresses having turned down the part for it being too unsympathetic towards Joan.
** Franco Zeffirelli intended to direct the film, but had a vision of Joan Crawford as a glamorous Hollywood martyr. Christina Crawford disliked this and thus it didn't happen.
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* HeyItsThatVoice: Alfred Steele later [[WesternAnimation/{{Sealab 2021}} took a job as the captain of Sealab]].
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** In a roundabout sort of way, Joan Crawford herself, who died years before the film came out. Nowadays, more people associate her with this campy movie about how she abused her daughter then the films that made her famous.
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* StarDerailingRole: Faye Dunaway, considering nobody could take her seriously after this role.
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* ParodyRetcon: The movie started being advertised as a parody a few weeks after its release. Posters were changed to read, "Meet the biggest '''MOTHER''' of them all!"
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* ParodyRetcon: The movie started being advertised as a parody a few weeks after its release. Posters were changed to read, "Meet the biggest '''MOTHER''' of them all!"all!"
* TruthInTelevision: Some modern audiences are confused at the film where Christina's soap opera seems to be both performed live ''and'' being recorded at the same time. This was a technique called "live tape" where television shows were performed as if live, including timed pauses for commercial breaks, but recorded for later broadcast.
* TruthInTelevision: Some modern audiences are confused at the film where Christina's soap opera seems to be both performed live ''and'' being recorded at the same time. This was a technique called "live tape" where television shows were performed as if live, including timed pauses for commercial breaks, but recorded for later broadcast.
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* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
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* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''WhoFramedRogerRabbit'' ''Film/WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
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* AFIS100Years100HeroesAndVillains:
** #41 Villain, Joan Crawford
* AFIS100Years100MovieQuotes:
** #72, "No wire hangers, ever!"
** #41 Villain, Joan Crawford
* AFIS100Years100MovieQuotes:
** #72, "No wire hangers, ever!"
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** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest".
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** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest".Dearest", in which his hypothetical child berates his father's performance in the movie version of ''Film/{{Popeye}}''.
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** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest".
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** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest".Dearest".
* ParodyRetcon: The movie started being advertised as a parody a few weeks after its release. Posters were changed to read, "Meet the biggest '''MOTHER''' of them all!"
* ParodyRetcon: The movie started being advertised as a parody a few weeks after its release. Posters were changed to read, "Meet the biggest '''MOTHER''' of them all!"
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* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
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* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".Shocker".
** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest".
** Creator/RobinWilliams also parodied this in one of his stand-up comedy routines that he called "Daddy Dearest".
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* GenreKiller: While the book spawned a slew of nasty tell-all "memoirs" by children of famous celebrity parents that continues to this day, this film seemed have killed the idea of turning those books into major motion pictures, save for a television movie every now and then.
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* GenreKiller: While the book spawned a slew of nasty tell-all "memoirs" by children of famous celebrity parents that continues to this day, this film seemed have killed the idea of turning those books into major motion pictures, save for a television movie every now and then.then.
* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
* {{Parody}}: ''{{Magazine/Mad}} Magazine'' referenced ''Mommie Dearest'' in their AfterTheEnd satire of ''WhoFramedRogerRabbit'' from issue #284. With Roger's career already in decline, his daughter adds to his problems by publishing a tell-all book called "Bunny Dearest: A Hare-Raising Shocker".
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Added Trivia tab.
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* CreatorBacklash: Faye Dunaway regrets having played Joan Crawford in the movie version and doesn't like to talk about it, either. Christina Crawford also regretted it being made.
* GenreKiller: While the book spawned a slew of nasty tell-all "memoirs" by children of famous celebrity parents that continues to this day, this film seemed have killed the idea of turning those books into major motion pictures, save for a television movie every now and then.
* GenreKiller: While the book spawned a slew of nasty tell-all "memoirs" by children of famous celebrity parents that continues to this day, this film seemed have killed the idea of turning those books into major motion pictures, save for a television movie every now and then.
