If there’s anything in particular that the 1970 mental breakdown drama Puzzle of a Downfall Child excels at, it’s in offering Oscar Winner & all-around Hollywood legged Faye Dunaway a free-range actor’s showcase. Resembling neither the restrained thrill-seeking-beauty of Bonnie & Clyde nor the detached-from-good-taste camp of Mommie Dearest, Dunaway’s lead role in Puzzle of a Downfall Child reaches for a more disorienting, heart-breaking knockout of performance. Much like Gena Rowland’s similar onscreen breakdown in A Woman Under the Influence, Dunaway’s mental unraveling in our Movie of the Month is purely a one-woman-show, fully immersing the audience in the heightened emotions & distorted perceptions of her character’s troubled psyche. One of the major factors in her mental decline are the Patriarchal pressures & abuses that arise naturally in the industry of high fashion, where she works as a model. Inspired by recorded oral history interviews with the mentally unwell fashion model Anne St. Marie (after she was used up & discarded by the fashion industry in real life), Puzzle of a Downfall Child is a scathing view of couture’s effect on the women who model its wares – especially once they need personal help or simply age out of their perceived usefulness. Dunaway’s heartbreaking performance at the center of the film would be a damning portrait of what the Patriarchy does to women’s psyches in any context, but the fashion industry setting in particular has a way of amplifying that effect to thunderous proportions.
When Dunaway returned to portraying a fashion industry artist later in the decade, her role was seemingly poised to exude more professional power & control over their own well-being. That sense of agency & solid mental health does not last long. In 1978’s The Eyes of Laura Mars, Faye Dunaway jumps the chain of command in the world of haute couture from fashion model to fashion photographer. There’s much more creative control & professional clout to be enjoyed on that side of the camera, especially in the fictional Laura Mars’s case, since she happens to be a very famous celebrity photographer at the start of promoting her first book of collected stills. In that position of power, it’s arguable that Dunaway’s protagonist even perpetuates some of the social ills that torment her character in Puzzle of a Downfall Child. Laura Mars is famous in her fictional art world for portraying misogynistic violence & extreme sexual kink in her photographs. Worse yet, a deranged serial killer has started to recreate the sordid displays in her work when killing her own fashion models, putting people like Dunaway’s Puzzle of a Downfall Child character in direct physical danger. Whereas the abuse & mania at the center of that earlier work was anchored to the recollections of a real-life artist & public figure, however, the crisis in The Eyes of Laura Mars is more of a supernatural fantasy. Dunaway’s tormented fashion photographer sees through the eyes of the killer during their slayings in uncontrollable psychic visions, directly linking the eyes of her camera to visions of real-life violence. This unreal occurrence shakes her belief that her photographs are enacting the social good of showing the world as it truly is for women by having her work directly inspire violence against women while she helplessly observes from the killer’s POV.
When initially discussing Puzzle of a Downfall Child, I mentioned that ”Between its thematic discomforts, its deliberately disorienting relationship with logic, and its gorgeous visual palette, it’s practically a couple brutal stabbings short of being a giallo film.” The Eyes of Laura Mars follows through on that train of thought, almost explicitly functioning as an American studio attempt at producing a Hollywood giallo picture. Boomer has even written about the film for this site before in reference to former Movie of the Month The Psychic, a Fulci-directed giallo thriller it shares so much DNA with they’re often accused of ripping each other off (depending on which one the audience happens to catch first). Director Irvin Kershner (of The Empire Strikes Back & RoboCop 2 notoriety) bolsters this supernatural murder mystery (originally penned by a young John Carpenter in its earliest drafts) with plenty familiar giallo touches – complete with a gloved hand protruding from offscreen to dispose of victims in Mars’s psychic visions. The fashion industry setting is a major factor in that aesthetic, as it was a world familiar to gialli at least as far back as Mario Bava’s Blood & Black Lace. What’s interesting here is the way these stylistic & hyperviolent giallo indulgences even the playing field between Dunaway’s two fashion-world archetypes. In The Eyes of Laura Mars she starts from a position of creative power far above her less protected status in Puzzle of a Downfall Child, but the violent & carelessly sexualized way women are framed (if not outright abused) in the industry eventually makes her just as vulnerable. Her own mental breakdown is more of the calm-surface panic of Kathleen Turner in Serial Mom than it is akin to Dunaway’s genuine soul-crushing illness in Puzzle of a Downfall Child (or her screeching madness in Mommie Dearest), but the misogynist ills of the couture industry had a way of breaking her protagonist down into a powerless distress in either case.
Almost inconceivably, The Eyes of Laura Mars was originally pitched as a starring vehicle for Barbara Streisand, who reportedly turned it down for the concept being “too kinky.” Having seen Babs pose in leather fetish gear for a Euro biker mag in her younger days, I’m a little baffled by that claim, but it’s probably for the best that she turned it down all the same. We still have evidence of Streisand’s involvement through the torch ballad “Prisoner” on the Laura Mars soundtrack, while also enjoying the fascinating double bill of these two Faye-Dunaway-loses-her-mind-in-giallo-adjacent-fashion-industry-narratives. Of the two pictures that cast her as a victim of fashion-industry misogyny’s strain on women’s mental health, Puzzle of a Downfall Child is both the better film and the better performance. Both titles are worthy of Dunaway’s time and energy, though, and together they conjure an imaginary crossover sequel where she plays both mad model & unhinged photographer – taking pictures of herself in an eternal loop of giallo-flavored mania.
For more on June’s Movie of the Month, the 1970 mental breakdown drama Puzzle of a Downfall Child, check out our Swampchat discussion of the film, our exploration of The Neon Demon‘s subversion of its traditional power dynamics, and last week’s look at director Jerry Schatzberg’s relationship with reality in his early work.