Some thoughts on Joyce Chopra’s film “Smooth Talk”

Roberto Ponce Cordero, ,

“Smooth Talk”, Joyce Chopra’s film adaptation of Joyce Carol Oates short story “Where Are You Going, What Have You Been?”, is so typical a cinematic product of the 1980`s that it seems too easy to criticize. The clothes of the characters are almost as funny as their haircuts; the music is so kitsch that it sometimes seems to be deliberately kitsch; the “together-we-will-paint-the-house-scene”, which is constructed as a kind of climax of the narrative about Connie’s relationship with her mother, can be taken as a more or less conscious plagiarism of the equally representative (though of course much more famous) “Karate Kid”; the slight paternalistic (or maternalistic) vision of the teen-agers “transforming themselves” (as Joyce Carol Oates puts it) and going around in the shopping-center is too seriously trying to sell us a dated image that always was quite obviously a cliché, and even a legend, as a “true” image, and therefore this wanna-be deep and supposedly important vision can’t help being outrageously funny and is actually unable to get spectators in year 2000 to take it seriously; etc. But these anachronisms would not be a big deal – no, they would be even delightful, if they were packed in the context of a good movie. But this is not a good movie. And it is mainly not a good movie because of the way the spirit of the open-ended and carefully ambiguous original story on which it is based was distorted in order to make place for the family values. This kind of distortions “to the right” (I can’t find a better way to name them now) have always been somehow typical of the movie-industry in general, but with the exception of the filmed version of “Less Than Zero” (also from the 1980`s), in which the basic plot of the cult-novel of Bret Easton Ellis about a desolated generation was almost maliciously turned into a piece of anti-drugs propaganda with a great soundtrack, I had never seen any filmed adaptation not only “filling in, expanding, inventing” but betraying the core of the original story as spectacularly as “Smooth Talk” does. And it doesn`t even have a good soundtrack.

While “Where Are You Going, What Have You Been?” only marginally focuses on Connie’s relationship with her family, and this often (and specially at the end of the story) in function of somehow abstract categories like “safeness” and “belonging”, “Smooth Talk” is a family-movie. The main drama is the collective drama of Connie’s family. It is not, as in the short story, that the family has a narrative role just as long as it obscurely predisposes or predetermines Connie’s patterns of behavior and possibilities of reaction, that the family is meant to matter only in order to emphasize its own fragility and the importance of Connie’s experience of a true turning point; in the movie, whatever happens to Connie is important solely because it contributes to the creation or solution of tensions between the members of the family, and her story is overcontextualized in the more general story of her family. It is an exactly opposite focus.

Joyce Carol Oates somehow realizes this, too, when she states in her article that “‘Smooth Talk’ is, in a way, as much Connie’s mother story as it is Connie’s; its center of gravity, its emotional nexus, is frequently with the mother”. But the problem of the film is not so much that it is not Connie’s story but the story of her and her family as that the story of her family is predictable, cliché-ridden and (badly enough) dull. And it is clean, of course: as Joyce Carol Oates quite indifferently writes, “the mother’s sexual jealousy of her daughter is slighted in the film”. A mother’s sexual jealousy of her own daughter is an extremely interesting thema or sub-thema for serious works of literature or cinema (and it is one of the features that make the beginning of “Where Are You Going, What Have You Been” so special), but it is certainly too truculent for a family-values film in which the mother is basically presented as being right and is even accepted as such by Connie at the end of a film, when she not very plausibly says that she would have liked to go to the barbecue and is willing to go to the next one.

In fact, the story of the family is boring. It is not original, and its narration has the artistic value of a dubious pseudo-educational manual for dealing with problematic adolescents. Moreover, the character of June is so foregrounded (at the end, she even dances with Connie! – and they of course [in an act of supreme reconciliation and harmony according to the usual meanings of kitsch narratives] dance to a song that their mother had previously danced to in the kitchen as well) that it would have required a much more careful treatment from the director in order to make a real character from her, but it does not have any substance and simply walks along like a plain and virtually voiceless appendix of the mother with as much personality as the paint the latter uses. And she is supposed to be Connie’s big sister, a role-model of maturity – a word which, in this film, is understood as a synonym of subordination.

Compared to June, Connie’s father is an extremely complex character. But he does not look very intelligent, and the causes and consequences of his seemingly weak position in the hierarchy of the family would be truly interesting, but this is not really exploited. We do not really come to know him: we see that he is somehow more tolerant (or is he only naiver?) and that he has more empathy for Connie than the hard-headed mother. But this undeterminacy is not very interesting, and he remains a kind of alien without a real place in the film, without a reason to be there, which I guess comes from the simple fact that it is the only character of the family that had to be almost completely invented by the makers of the movie. A good, strange, completely unreal dad.

With such weakly elaborated characters and such story highlights as the already commented “together-we-will-paint-the-house-scene” or the “tragedy” developed in the “family-playing-cards-scene”, and with the microcosmos of this poorly credible family being the skeleton of the film (which, as was noted in class, more than inverts the proportion of narrative time given to the family and to Connie’s turning-point experience in the original story), it is no wonder that the spectator who knows the procedence of this pretentiously expanded melodrama in which basically nothing is being told is dying to finally see Arnold Friend appear on screen. To be clear, quite at the beginning of the film we have already seen him, in the scene in which Connie for the first time goes across the highway. The scene pretends to be as close to the same scene in the original story as possible, and in fact is one of the best of the film, but, in my opinion, ultimately fails: first, because right before Connie sees Arnold for the first time he is shown spying her way to dance inside the local through a big window, and this with a musical theme reminiscent of horror movies that would be consistent if the film were a psycho-thriller (as the story) but tends to be ridiculous in the context of a light family-drama that only at the very end, only very vage and only in a very forced way retakes the figure of Arnold Friend; and second (less importantly), because the “sign” made by Arnold is unambiguously overacted, whereas in the original story is part of the whole of the behavior of this character that is overacted as well as solemn and scary.

Thus, when it finally comes to the visit of Arnold and the“incantation” of Connie by him, there is practically no kind of previous plot-element that justifies this visit, or the reaction of Connie to it. And though the performance of Treat Williams (whom I personally did not find bad at all – the problem being, in my opinion, that not even Dustin Hoffman could have saved a film with such a bad screenplay and mediocre direction) is really funny, and even though the dialog of the original story is widely used for this scene, the events happening in front of us remain incomprehensible, inconsistent. The dream-like atmosphere of the largest part of Joyce Carol Oates story is not reconstructed, and this leads to the effect (that I already discussed in the last paragraph) that, for the spectators, the characters of Arnold Friend and his bizarre friend are only plain and overacted caricatures, and therefore slight interesting but not menacing. Not really very interesting, either.

Moreover, I think Arnold Friend is consciously meant to be less scary and psychotic in the movie as he was (and he was) in the story. The fact that he does not menace Connie with doing harm to her family if she waits too long inside the house, as he does in the short story, is probably the best evidence I have for this assertion. And that is important, because without this motivation (the fear for the life of her relatives, which makes her –in words of Joyce Carol Oates, again- “capable […] of an unexpected gesture of heroism at the story’s end”) her decision to go with Arnold is either voluntary or incredibly stupid, and most probably both. What we have is not a “gesture of heroism” or even something that resembles it, but incoherent behavior, a pathetic try to force the plot of the original story -without its spirit and even without its very sense, its intern logic- in an alien concept.

And when right after that we see that Ellie destroys everything in the house without particular reason and, alas, that Connie is taken back by Arnold and not only has survived to embrace her regretful family and dance with her sister but is even capable of simply ordering him not to come back, the almost mystical turning-point of the original story has been already so distorted in the process of its superficial “recreation” that the only question left to ask is: Why? If Arnold Friend is not to be scary, and Connie is not to be dead, or raped, or kidnapped, or “like a rolling stone”, etc., and if she is supposed to meet her family again and being convinced that she has to be a “good girl” (even though she was everything else als a “bad girl” in the previous 90 minutes of the film)… then why make the movie in the first place? That film-makers of the 1980`s were getting money to hail family-values and present even the most modest interest in sex as inadequate in their films is understandable, but why did they have to take the story of Joyce Carol Oates and destroy it? Why not adapt a text more related to the programm they were eager to serve? Had they done so, the result would have been in my opinion ideologically equally reproachable, but probably much more consistent as a film, and much less boring.

(Mini ensayo escrito en el año 2000).

(Crédito de imagen de thumbnail: http://lecinemadreams.blogspot.com/2014/08/smooth-talk-1985.html. Crédito de imagen de inicio de post: http://www.rogerebert.com/reviews/smooth-talk-1986).

Published by Roberto Ponce Cordero

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