10 Essential Shelley Duvall Performances

As a longtime film enthusiast, I’ve had the pleasure of observing and admiring the extraordinary talent that is Shelley Duvall. Her magnetic screen presence and unique ability to embody complex characters have left an indelible mark on cinema history.

Shelly Duvall, the Texas-born actress who passed away recently at 75, presented Hollywood with an enigma. With her distinctive appearance – oversized eyes and a beaming grin – she didn’t conform to the standard movie star mold of her era or any other. Her unique features resembled exaggerated caricatures found on a boardwalk, bringing them to vibrant life on screen. As a performer, Shelly embodied an infectious quirkiness and eccentricity, which aligned perfectly with the raw American cinema of the 1970s. However, her unconventional charm seemed less fitting for the more polished productions that emerged afterwards. Unable to neatly categorize her within the conventional framework of movie stardom, Shelly’s roles became increasingly sparse throughout her five-decade long career, which began with her debut in Robert Altman’s “Brewster McCloud.”

This film by the director is among the four distinguished works showcased in the following list. In truth, the entire list might as well be a collection of films she made with Altman, who found her in Houston and gave her roles of varying significance for over ten years. Throughout the 1970s, she brought depth to his large casts and stole the spotlight in one of his most acclaimed, eccentric productions, delivering a nuanced, improvised performance that earned her a Cannes win. A comprehensive analysis of her career would be incomplete without highlighting this fruitful collaboration between them.

During the years following her tenure with Altman and her prominent role in “The Shining” by Stanley Kubrick, Duvall found herself largely working in supporting parts or appearing in films that didn’t fully showcase her exceptional abilities. Despite being an actor of remarkable uniqueness, she was often underutilized. The 1990s marked her most productive decade as an actress, but many of the films produced during this time failed to display the quirky elegance for which she was renowned. Much commentary on Duvall’s later career focused on instances where she was exploited or exposed, such as during the filming of “The Shining” and her interview with Dr. Phil regarding her mental health issues.

Duvall’s artistic journey in show business was unique and winding, marked by some obstacles but also filled with creativity. Until her retirement in the early 2000s, she hardly ever had free time, even when not appearing on movie sets. Her television work, particularly as host and producer of children’s programs like “Faerie Tale Theatre,” kept her engaged throughout the 80s and 90s. This lesser-known aspect of her career opened up a new audience for her and allowed her warm personality to shine in a family-friendly setting. Think of this period as an honorable mention, showcasing gems from a diverse and often thrilling body of work.

Brewster McCloud (1970)

At a party, 21-year-old Shelley Duvall met film director Robert Altman and was discovered. Making her screen debut in Altman’s quirky black comedy, Duvall played the lively Astrodome tour guide who lost her virginity to and drove around in a stolen Plymouth Road Runner with the awkward loner character, Bud Cort. With her large, expressive eyes accentuated by false lashes, Duvall delivered her lines in a drawling, melodic tone. Her performance as the unknown actress offered an early version of the manic pixie dream girl archetype, bringing life and whimsy to the character Brewster McCloud and the film itself. Despite not being a major success (it was overshadowed by Altman’s other comedy release that year, “M*A*S*H”), “Brewster McCloud” marked the start of an inspiring creative partnership between Duvall and Altman.

Thieves Like Us (1974)

In my experience following Altman’s filmmaking journey, after making a memorable debut in “Brewster McCloud” and a nearly speechless role in “McCabe & Mrs. Miller,” I was thrilled to see Altman giving me, Shelley Duvall, a significant part in his next project, “Thieves Like Us.” I was cast as the teenage lover of an on-the-run bank robber named Bowie, portrayed by Keith Carradine. My character radiated a sense of innocent joy that made my transition into children’s storytelling later in life seamless. Altman skillfully captured this quality in our scenes together as we smoked, kissed, and listened to the radio in bed. However, the bittersweet reality was that our love was precariously perched on a time bomb. The harsh realities of Bowie’s criminal lifestyle were destined to shatter our idyllic romance. Throughout the film, the inevitable heartbreak is etched onto my face: I embody the pure innocence of youth, only to have it snatched away in the gut-wrenching finale, where my despair is palpable in my anguished cries.

3 Women (1977)

https://youtube.com/watch?v=watch?v=PdEGq_z2m1w

In the enigmatic “3 Women,” Duvall delivers arguably her finest acting and most captivating collaboration with Altman. She portrays Mildred “Millie” Lammoreaux, a chatty, extroverted woman who works at a desert elder-care facility, characterized by self-absorption and an affinity for men. Duvall’s improvisational dialogue is engaging and humorous. However, the film’s second half introduces a significant divide as Millie appears to switch identities with her shy, enigmatic roommate, portrayed by Sissy Spacek. Even after nearly 50 years, “3 Women” continues to intrigue adventurous viewers, bridging the gap between Bergman’s “Persona” and Lynch’s “Mulholland Drive.” Duvall’s contribution is crucial: The film’s exploration of identity’s fluidity is embodied in her masterful dual performance. In this role, a seemingly carefree woman loses control as the world around her fractures into something unsettlingly novel.

Annie Hall (1977)

In 1977, Duvall experienced a significant surge in her acting career. Shortly after the release and success of her acclaimed performance in “3 Women,” she made a brief yet impactful appearance in the eventual Best Picture winner, “Annie Hall.” In this film, Duvall portrayed Pam, a Rolling Stone writer whom Woody Allen’s character, Alvy Singer, dates during one of his relationship hiatuses with Annie. Although Pam had only a few scenes and was mainly used to set up comedic moments, Duvall brought her character to life so convincingly that she turned a caricature into a real person. Her charm and charisma made Alvy’s negative traits even more glaring in contrast. You couldn’t help but root for her to find better prospects than this cynical man! Duvall’s exceptional performance in this minor role demonstrated her ability to shine beyond Altman’s direction. As Pam herself would say, she was transcendent.

The Shining (1980)

Duvall’s portrayal in “The Shining” continues to spark heated debates, with some viewing Kubrick’s direction of the actress during filming as abusive, while others see it as a creative clash between two visionary artists. Regardless of the perspective, Duvall’s chilling performance has endured, despite being once dismissed with a “Worst Actress” nomination by the Razzies. The heart-pounding terror in “The Shining” often stems from Duvall’s reactions rather than Nicholson’s famous line “Here’s Johnny!” and ax-wielding scene.

Popeye (1980)

https://youtube.com/watch?v=watch?v=qAFgj8mqPk0

As a movie buff, I’d say: The Duvall and Altman collaboration had an unexpectedly quirky finale with a massive, eccentric musical production for all ages. Released not long after “The Shining,” this big-screen adaptation of everyone’s favorite sailor man proved equally enigmatic – a costly failure that may have negatively impacted both the director and his leading lady’s careers. However, “Popeye” is a groundbreaking masterpiece, owing equal debt to its whimsical source material and the unconventional storytelling Altman and Duvall had perfected prior. In this film, Duvall shines (pun intended) as Olive Oyl – her captivating animated portrayal and endearing screen presence make her a perfect fit for the part. Plus, she gets to belt out a couple of catchy tunes penned by Harry Nilsson, such as the heartwarming “He Needs Me,” which was later reimagined in a new light by Paul Thomas Anderson in “Punch-Drunk Love.”

Time Bandits (1981)

In the late ’70s and after my collaborations with Altman, I, Shelley Duvall, became a sporadic presence in movies, frequently appearing in supporting roles. Yet, I managed to make a significant impact with minimal screen time. My brief stint in Terry Gilliam’s cherished cult classic, “Time Bandits,” is a testament to this fact. Sharing the screen with Michael Palin, I portrayed an enigmatic, possibly immortal or reincarnated maiden whose romantic moments were constantly disrupted by the film’s eponymous characters – a band of unscrupulous, time-traveling thieves. This comedic interruption, which spanned across various eras from the Middle Ages to aboard the Titanic, provided ample opportunity for me to embrace the quirky humor of the film. My exaggerated reactions and campy portrayal of love and anticipation of a kiss became a running gag that endured throughout the centuries. While my earlier films showcased my naturalistic, flower-child persona, “Time Bandits” revealed my knack for broad, theatrical comedy as well. Sadly, not many directors recognized and utilized this facet of my acting ability.

Frankenweenie (1984)

In a surprising turn of events, a lesser role in a short film by a budding director named Tim Burton became a major source of appeal for an actress, thanks to her captivating performance. At one point, Burton gave actress Duvall a chance when he cast her in his half-hour Universal Monsters spoof, which ultimately led to his dismissal from Disney. Despite the film’s black-and-white visuals paying homage to James Whale’s classic horror films, it was Duvall’s portrayal of Victor’s mother that brought a touch of authentic human emotion to the production. Balancing the line between fitting into the film’s vintage aesthetic and appearing as a genuine character, she managed to make the audience connect with this quirky children’s film on a deeper level. For Duvall admirers, witnessing her transformation into a cheerful suburban housewife in “Frankenweenie” was an unexpected delight.

Roxanne (1987)

In the romantic comedy “Roxanne,” Duvall’s authentic friendliness shines as the supportive character, yet this role is too predictable for an actor as quirky and charming as Duvall. However, “Roxanne” is a delightful romantic comedy, a clever retelling of “Cyrano de Bergerac,” where Steve Martin wears a large prosthetic nose. Duvall adds depth to her role as Dixie, Charlie’s godsister, and the voice of reason in the film who subtly plays matchmaker for the lovestruck hero and Roxanne (Daryl Hannah). Her heartfelt advice for Charlie to express his feelings directly resonates with romantic wisdom, offering a clear perspective amidst the film’s complexities. Duvall perfectly embodies the tone of “Roxanne,” which balances gentle wittiness and genuine sincerity. Although fans might desire more scenes for Dixie, her emotionally open portrayal remains a cherished aspect of this timeless romantic comedy.

The Portrait of a Lady (1996)

https://youtube.com/watch?v=watch?v=gURDYvVpZU8

In her final notable acting role before retiring, Duvall shined in Jane Campion’s costume drama. She portrayed Countess Gemini, an eccentric aristocrat adding comic relief to the otherwise heavy story, based on Henry James’ novel. Despite having a minor role and being absent in the film’s initial trailer, her performance was scene-stealing. Duvall delivered one poignant moment where she revealed a shocking truth to Nicole Kidman’s cold-hearted character. This role served as a testament to Duvall’s versatility as an actress; though she excelled in modern roles, she was equally comfortable in period pieces.

2024-07-22 18:47