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Charlotte hasn’t seen her daughter Eva for seven years, during which time Eva has married quietly devoted minister Viktor, and suffered the death of her little boy, whom Charlotte, it seems, never met.We get the impression that during this time Eva has been frequently writing to her mother, but Charlotte has often neglected to fully read the letters, caught up in a more glamorous life of world travel, career success and love affairs.It’s a heady, affecting and lavishly laid-out buffet (Turner’s costume budget, for example was the highest ever for a picture to that date) topped off by an extraordinary Mahalia Jackson gospel performance which you will, we guarantee, be watching through tears.“Thirteen” (2003)While we’re definitely out of step with the near-universal praise and acclaim that was heaped upon Catherine Hardwicke’s directorial debut, there’s no denying that it’s a film that at its heart is about a messed up mother/daughter relationship.With Bergman reportedly saying in 1995 ‘‘I was very much in love with my mother. And yet perhaps what is most remarkable about this most remarkable of films is the evenhanded understanding (if not necessarily sympathy) that we come away with for both characters, by the end.These pin-sharp accurate portraits of Charlotte and Eva as fully rounded, self-contradictory individuals inextricably in each others’ orbit are what makes the film feel so eternal: they’re different in every way from each other, but united by tethered histories and a few stubborn strands of DNA.

But underlying the story of the Carrie White’s sudden, destructive use of her powers is something much less uncanny and inexplicable, though no less terrifying—her totally fucked up relationship with her mother, played in 1976 by Piper Laurie and in the new version by Julianne Moore.And Sarah Jane, a complicated, often resentful young girl whose light skin allows her to pass for white (which she desperately identifies with), but only at the cost of rejecting and repudiating her deeply loving mother Annie.The filial relationships become more central as the film goes on, and its second half is largely devoted to their maternal issues: Susie inevitably falls in love with her mother’s boyfriend (the extraordinarily handsome John Gavin) while Sarah Jane becomes wilder and eventually runs away to be a burlesque dancer, changing her name and denying all ties to her heartbroken, saintly mother.But the effect of these moments is never tricksy, instead they give depth and richness of allusion to, and occasionally even an odd relief from, the intensity of the emotional tug of war between the women.Both can be monstrous, yet neither is a monster, and the speed with which our sympathy swings from one to the other at times threatens whiplash, with almost every moment of grace and redemption immediately undercut by a look, or a casual, thrown-off comment of such pure malice that it makes you wince, and vice versa. But she could be very cold and rejecting,’’ it’s clear the personal resonance that this story has for him.What’s key here is the characterization of Melanie: a young mother, and a financially insecure recovering alcoholic with bohemian leanings who has relationship with Tracy that seems more like a friendship than mother-and-daughter.And so some of Melanie’s initial inaction in the face of Tracy’s changed behavior can be chalked up to this free-spirit tendency, however what actually happens is that the light-switch change in Tracy will reveal Melanie to be less youthful than immature, and frighteningly ill-equipped to curb her daughter’s sudden excesses.It’s an arrangement which becomes long-term, with Annie eventually (voluntarily) settling into a kind of housekeeper role, while Lora pursues her career.Sirk, however shifted the focus of the 1934 Claudette Colbert-starring film of the same name, more onto the daughters, and so we get to know Susie, the sweet, blonde daughter of Lora’s who’s chief gripe with her mother is the benign neglect she suffers as the ambitious Lora becomes more in demand.Tracy is a good girl, on the cusp of “that difficult period” who suddenly notices the different (ie more provocative) way the popular girls at school dress and talk and act.Forcing her mom to buy her some tight jeans and a “cute” shirt, Tracy pursues a friendship with queen bee Evie Zamora (Nikki Reed, credited as co-writer here, on whose experiences the film is reportedly loosely based) which sees Tracy transform into a cigarette-smoking, purse-stealing, scowling bad girl and beyond.


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