SHIRLEY

US, 2020, 107 minutes, Colour.

Elisabeth Moss, Odessa Young, Michael Stuhlbarg, Logan Lerman.

Directed by Josephine Decker.

The Shirley of the title is Shirley Jackson, a noted novelist and writer of short stories in the middle of the 20^th century, based in Vermont. Amongst the celebrated works are the short story, The Lottery, The House on Haunted Hill, We Have Always Lived in the Castle (several of her works adapted for television and cinema, especially The House on Haunted Hill for Robert Wise’s 1963 classic, The Haunting).

This portrait of Shirley Jackson is based not on the biography but rather on a fictional account of her life and career. In checking on her timeline, we find that the period of action in the film, 1948, is not accurate in relationship to the work she wrote and, surprisingly, we find that she and her husband had four children but none in the film.

So, a portrait of Shirley Jackson and a tour-de-force performance by Elisabeth Moss (who resembles some of the photos of Shirley Jackson). Elisabeth Moss has appeared in many films to great advantage, able to take many different roles – but, in the public’s imagination, known for her presence in The Handmaid’s Tale for its many seasons.

Shirley is a difficult character, and drinker, pills, unwell, agoraphobic, a touch of the spiteful, and her mentioning to others that some consider her a which. And, often, she behaves this way. Her husband, Stanley (Michael Stuhlbarg) lectures at the University, famous in his way, supportive of his wife’s career, arrogant, a philanderer.

Into the story come a fictional couple, Rose and Fred Nemser. Rose has read Shirley Jackson’s stories and admires her. Stanley is Fred’s patron, introducing him to University lecturing. Stanley asked to favour for the couple to move in, rent-free, but keeping an eye on Shirley.

While Fred does some lecturing, wants Stanley to approve his dissertation for promotion, he rather disappears from the film, returning home late at night (and his behaviour later exposed). Rose, pregnant, this announced unexpectedly by Shirley, clashes with Shirley but, eventually, curiosity prevails, Shirley shares something of the short story she is writing about a girl who had vanished from the University campus, becomes somewhat dependent on Rose for shopping, cooking, discussions – and an emerging sexual attraction.

Ultimately, there is a crisis with Stanley trying to thwart Fred’s ambitions, Shirley finishing her work – and Stanley urging the couple to leave. There is a crisis moment towards the end, dramatic, Shirley actually driving to the scene where the University girl disappeared, gives the now-born baby to Shirley to hold, Rose running to the edge of the cliff. The screenplay indicates that Rose could have thrown herself over or, as visualised, leave with Fred the baby, leaving Shirley and Stanley and their interdependence, and celebration of the end of her successfully writing the story.

1. The title, Shirley Jackson, her career, writer, popularity? A glimpse into her life? Relationships?
2. The American town, homes, interiors? The University, lecture rooms, the gatherings? The outside of the house, the countryside? The musical score?
3. The audience entering the story with Rose and Fred, on the train, Rose’s sexual advance, the arrival, the house, settling in, Stanley and the welcome, Shirley and her reclusiveness, hostility?
4. Rose, pregnant, Shirley discerning this, secrecy, blurting it at the table, Rose and her reaction, Fred’s reaction? Antagonism towards Shirley?
5. The character of Shirley, seen at the party, sitting on the couch, sardonic remarks, her husband waiting on her, the people at the party, Rose observing? Rose continuing her curiosity about Shirley?
6. Shirley, her writings, reputation, agoraphobia, within the house for two months, her husband urging her out? Manifestations of her neurotic attitudes, behaviour? Urged out to meals, her attacking the couple, eating from the bowl? The story of the girl disappearing, it being visualised throughout the film, Shirley identifying with the character, Rose identifying with the character? Insights, the development of the story, Stanley wanting to read it and Shirley’s refusal?
7. Fred, going to work, the lectures, the patronage of Stanley, yet Stanley’s criticisms, intolerance of ordinary competence, saying he had read the dissertation, lying, allowing Fred to lecture, the touch of jealousy, discussing with Shirley to bring him down? His relationship to Rose, anticipation of the baby? Out, returning late, his excuses? And Shirley revealing that it was an arrangement for lecturers and sexual liaisons?
8. The film developing the relationship between Shirley and Rose, talking, Rose working in the kitchen, the arrangement with Stanley for free board but looking after Shirley? Discussions, Rose’s curiosity, Shirley responding? The bonding, the friendship? Stanley and his suspicions? The sequence of the sexual advance, Shirley on the couch, Rose lifting her skirt, the touch, fadeout, at the table, legs touching under the table…? The effect on Rose?
9. The change in Shirley, continuing to write the book, and dependence on Rose, the decision to go to the party, the sarcasm with the faculty wife, the wife’s relationship with Stanley?
10. Stanley deciding that the couple should go, his humiliation of Fred, Rose and her discovery of Fred’s behaviour and her reaction?
11. The film not showing the birth of the baby, the baby present, Shirley and her holding the baby, quieting it?
12. Rose, upset, the parallel with the girl of the story, Stanley and his saying he had seen her, Rose hurrying away, Shirley driving her to the scene, surely with the baby, Rose running to the cliff? The bond between the two?
13. The crosscutting between the cliff and Rose and the baby getting in the car with Fred and driving away? Two possible endings? For Rose?
14. Shirley, the accomplishment, Stanley and his response, the bond between the two, the final image of their dancing?
15. Psychological portrait of a creative writer?