Marlee Matlin Calls on Studios to Green-light Deaf Stories

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Remarkably, Marlee Matlin continues to be recognized as the youngest actress ever to win an Oscar for Best Actress, a title she earned at the tender age of 21 for her exceptional performance in “Children of a Lesser God” (1986). As Shoshannah Stern’s heartfelt documentary, “Marlee Matlin: Not Alone Anymore“, underscores, Matlin was just 19 when she took on the role that would launch her into stardom. This role in Randa Haines’s film adaptation of Mark Medoff’s powerful romantic drama about a deaf woman and a hearing teacher (portrayed by William Hurt) immediately elevated Matlin to one of the most prominent deaf Americans and set her on a path of lifelong activism. However, amidst this public success, Matlin was privately grappling with challenges: she was undergoing rehabilitation when she received her Oscar nomination and was battling to free herself from an abusive relationship with Hurt, a struggle she would later share openly.

The significant advancement in deaf representation on screen that seemed imminent in 1986 failed to fully manifest, leaving Marlee Matlin with challenges in securing leading roles in movies for subsequent years. It wasn’t until the release of CODA in 2021, where she co-starred, that another deaf actor received an Oscar. As a result, Matlin moved into television roles earlier than expected, debuting on NBC’s “Reasonable Doubts” in 1991. At this time, it was considered unfavorable for film actors, especially Oscar winners, to take up TV roles. However, Matlin continued to deliver outstanding performances in shows like Seinfeld, The West Wing, Law & Order, and The L Word. During this period, she also started sharing her personal battles, first through her 2009 memoir titled “I’ll Scream Later”, and now, in this captivating documentary. In an interview at the Sundance Film Festival, Matlin, alongside her longtime interpreter Jack Jason (who has worked with her since 1985), discussed their reflections on her career for this film, winning an Oscar at a young age, and the challenges of portraying death in the presence of Ed Harris.

Marlee, I absolutely adore this movie. It touched me deeply and was masterfully crafted. Can you tell me how you ended up collaborating with Shoshannah Stern, the director?

I had a lunch meeting with American Masters, and they mentioned that they were planning to make a film about your life. I thought, “Why not?” And I suggested that it should be directed by a deaf director. They agreed, and I proposed Shoshannah Stern as my choice. At first, she hadn’t directed anything before, but they went along with it because everyone has to start somewhere. I knew she would be the ideal person for this project because of her incredible talent in everything she does. I have always trusted my gut feelings, and I was confident that Shoshannah would be the perfect choice as director for this project. And that’s how things worked out.

The movie frequently showcases scenes where you and Shoshannah are both present on the screen, seated on a couch and communicating through sign language. This is unusual because it’s not often directors appear alongside their subjects in a film. I can share that I had no role in the creative decisions; my responsibilities were limited to getting dressed, applying my own makeup, and participating in interviews. However, I did suggest some people who Shoshannah could converse with for the documentary. The rest, including the editing, sound design, color grading, timing, and our seating positions on the couch, were entirely in Shoshannah’s hands. I didn’t interfere with any of her other interviews either. I trusted Shoshannah implicitly, and I believe this decision turned out to be one of the best I’ve ever made, even though it was a risk for me as I usually like to maintain control. But I follow my instincts, and I’m happy with the outcome.

What prompted you to become an actor was seeing Linda Bove, a renowned deaf actress, perform on “Happy Days” and “Sesame Street.” The moment I saw her signing, it struck me – “That’s what I want to do!” She was both acting and communicating in sign language, which inspired me, as I realized I could follow in her footsteps.

Despite the presence of deaf actors like Linda during that time, there wasn’t yet a clear path for them to succeed or gain recognition in Hollywood. What kept me going during this period was the inspiration I found from the deaf actors who had worked before me, even though they weren’t widely known outside of our community. There were many talented individuals like Linda Bove, Phyllis Frelich, Bernard Bragg, Herb Larson, and Audree Norton to name a few. Although some have passed away, they were all part of the National Theatre of the Deaf and their work paved the way for me. It was the success of “Children of a Lesser God” that truly opened doors in the mainstream world, making the hearing public more aware of our talent.

As a teenager of 13, I recall watching “Children of a Lesser God” when it was released. Although the movie wasn’t really suitable for someone my age, my parents let me see it, and I was both shocked and deeply moved by the film. Your Oscar win was a momentous occasion, one that left an indelible impact on me. Interestingly, until recently, I had forgotten about your youth when you landed the role, filmed the movie, and won the Oscar. To this day, you remain the youngest Best Actress Oscar recipient. During that time, did thoughts like “This is happening too fast, I’m too young for this” ever cross your mind? In reality, I think I was too immature to even consider myself as being too young. I was barely out of high school, not entirely sober, and just learning the ropes of life. It was all part of a steep learning curve. But what I did realize was, “Wow, I’ve made it in Hollywood! I’ve always dreamt of being in Hollywood ever since I saw Happy Days. Now Linda is there, now I am too.

At the Academy Awards, I encountered the actors and celebrities I had admired for years. However, amidst all the glamour, I didn’t feel like I truly belonged; I felt more like an ordinary spectator. Yet, when I won an Oscar, my sense of pride was unique – I chose to celebrate on my own rather than joining the throng of winners. It was a different kind of joy, one that would have been distinct if it were to happen today.

Indeed, that’s accurate. Back then, we didn’t have social media or TMZ. It was a period when I chose to focus on myself. In the midst of all the buzz about nominations, campaigns, and awards season, I found myself saying, “I must prioritize my health.” So, despite everyone discussing nominations, I opted for rehab instead.

I sought treatment at a rehabilitation center, locked the door behind me, and whispered to Jack, my confidant, “Please keep this secret, not even Paramount or the public relations team should know.” My family was aware, yet they vehemently objected. They dismissed my situation, saying, “Marlee, you just smoke marijuana. So what?” However, they didn’t comprehend the severity of my addiction nor the domestic violence I endured. It was a period in my life marked by vulnerability, fear, and loneliness, but I knew it was necessary for me to take that step and enter the Betty Ford Clinic. Even mentioning it now sends shivers down my spine. I came close to giving up, but I pushed myself to walk through those doors, and it was the most empowering decision I’ve ever made. In the past 38 years of sobriety, it’s been an incredible journey. During my rehabilitation, Jack phoned me and asked, “Is this the Best Actress nominee I’m speaking to?” I was bewildered, as it was 5:30 in the morning and everyone else was asleep. My counselor congratulated me, instructed me to tidy up my room, and then I resumed my treatment. And that’s the story.

What are your thoughts on “Children of a Lesser God” in today’s context? I believe it wouldn’t evoke the same response from the audience now. To put it simply, it feels quite outdated and even disturbing to modern sensibilities. I might be blunt, but if viewed through contemporary eyes, I would rework the movie because its narrative strategy appears manipulative. The character portrayed by Bill Hurt, his actions were more for hearing adults and parents, not for deaf children like us. It didn’t resonate with us naturally, and it wasn’t relatable or normal for us. Essentially, it failed to let us express ourselves authentically as we desired.

The film is essentially a love tale, that much is clear – it’s all about love. Since its inception, Sarah’s character from “Children of a Lesser God” has been portrayed by every deaf actress worth her salt. No other play has emerged quite like it since then. Not a single writer has crafted such an exceptional character for the stage since Sarah was born. I’ve longed for a deaf playwright to step up and create something comparable, if not superior, to the works of established hearing playwrights in theater. Fortunately, there are many talented deaf writers out there who could certainly deliver.

As a cinephile enthusiast, let me delve into a film seldom discussed yet dear to my heart – ‘Walker’, directed by Alex Cox and released post ‘Children of a Lesser God’. This unconventional acid western, though it received harsh criticism from critics, managed an impressive $2 at the box office. Despite its modest success, it’s one of those rare cinematic gems that I hold close to my heart. In this movie, while my role may not have been central, I had the privilege of serving as the film’s moral compass, providing a unique perspective throughout the narrative.

In essence, a part is significant, not necessarily large! The character doesn’t have to be deaf; she just happens to be that way. Her portrayal was exceptional, truly remarkable. Now, I recall the experience of collaborating with Walker. Who wouldn’t want to work with him? I vividly remember Ed Harris, a man I admire deeply. I shared the screen as his wife, and we filmed in Nicaragua, an experience that was incredibly intense. He was a powerhouse actor, very passionate, but also a friend, which made the process smoother for me.

In this scene from the movie, my character is deceased and I’m lying in a coffin – an experience I never thought I’d have. It turned out that my grandmother had recently passed away. With my hearing aids removed, I was completely oblivious to what was happening around me. The shooting or rolling must have been going on, but I kept my eyes closed and waited. Since both the character and I are deaf, I was lying in the coffin with my eyes shut, wondering why it seemed like things were taking forever. Suddenly, the coffin began to shake. Upon opening my eyes, I saw that Ed was furious because he was struggling to work while Jack told me he was trying to be sad and cry. However, someone making noise upset him so much that he became enraged. Meanwhile, I was attempting to ‘die’ on set for a considerable time. This scene remains vivid in my memory as it was quite intense, but I enjoyed the challenge of playing dead in this film.

Reflecting on the Oscar win for CODA, there was a sense that it would bring significant advancement for the deaf community, similar to your own Oscar victory a few years prior. However, it appears that progress often doesn’t materialize as quickly as we hope. The question is, what keeps this momentum going?

We were all thrilled about CODA, and people couldn’t stop talking about it. But the excitement fades, and the energy doesn’t last. We can’t just sit back and wait for opportunities to come our way. There are deaf writers out there creating stories, but studios are hesitant to greenlight these projects. Sometimes they might say, “We like this project, but we already have a deaf character in another project, so we’ll have to pass.” This can feel like tokenism, and it’s important for studios to embrace more deaf characters in their scripts. Deaf characters can be as diverse as hearing characters in hearing movies, they don’t always need to be in stories about the deaf community. Studios need to accept us, understand us, and give us a chance.

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2025-06-09 15:54