Back in 2012, Kathy Lee Gifford produced and wrote the songs for a musical about Aimee Semple McPherson's life called "Scandalous". While it was a huge bomb, it won a Tony nomination for its terrific leading star, Carolee Carmello, and I found it to be hugely underrated, if not a masterpiece. Kathy Lee said in an interview that she did a ton of research on Aimee Semple McPherson's life, including watching this well received TV movie, but commented that it only focused on Aimee's scandalous kidnapping claims in 1928 which were questioned by the Los Angeles district attorneys as being fraudulent. The musical surrounded its story of Aimee's entire life with the kidnapping trial, having Aimee continuing her Pentecostal services in spite of the pending verdict, and the aftermath of that verdict to which was famously said, "Let her be judged in the court of public opinion".
One thing struck me about the casting of both Aimee and her mother, Mildred Ona Pearce Kennedy, was the resemblances of both the TV Aimee (Faye Dunaway) and the stage Aimee (Carmello) to the real deal even though they do not resemble each other. On the other hand, Bette Davis and the stage Mildred (Candy Buckley) highly resembled each other, and in other stage vehicles I've seen Ms. Buckley in, she seems to be the only woman female impersonator who does Davis, both seriously and comically. Interesting to note that Mildred's maiden name was Pearce, considering the fact that Davis was offered (and turned down) the Joan Crawford Oscar winning vehicle "Mildred Pierce". Davis made it clear that she found Dunaway difficult to work with and not a very good actress, and as much as I agree with Ms. Davis on some things, Dunaway not being a good actress is NOT one of them.
Perhaps demanding in real life, Dunaway has always been commanding in her performances, and she is someone you never take your eyes off of. Her beauty was made for the movie camera, and before she went down the road of camp as Crawford in "Mommie Dearest", she had a sincerity and femininity like few other 1970's stars. Even in her melodramatic or bitchy roles ("Chinatown" and "Network"), there was always something alluring about her. As Aimee. she does command every moment where she is on the podium preaching, and when she reveals the claims about her kidnapping, she is so sincere that you too begin to wonder "How can she be lying?" even when it seems that there is no way that she could be telling the truth.
A Dunaway/Davis pairing, even with the alleged animosity, is filled with sparks. Davis commands the screen with those eyes; Dunaway's mouth is what drives you to watch her. They have mostly warm scenes together, but when Davis confronts her over the possible lies, you get the hints that Mildred Kennedy did not know for sure. Hugs between the two are heated as well, making you want to check out both of their hands for knives. As the attorneys involved in the case, James Sloyan and James Woods have a disgust on their face towards McPherson that reveal so much more than whether they believe her to be lying or not, just their disgust over her entire existence and the manipulation of the public that crammed into McPherson's services. The 1920's details seem perfect as well. I was surprised that the Emmy's totally snubbed this as it seems to be the type of film that would get as much glory at Hollywood award shows as Aimee would feel on the platform that allegedly cured many as well as the thousands it brought to righteousness.
One thing struck me about the casting of both Aimee and her mother, Mildred Ona Pearce Kennedy, was the resemblances of both the TV Aimee (Faye Dunaway) and the stage Aimee (Carmello) to the real deal even though they do not resemble each other. On the other hand, Bette Davis and the stage Mildred (Candy Buckley) highly resembled each other, and in other stage vehicles I've seen Ms. Buckley in, she seems to be the only woman female impersonator who does Davis, both seriously and comically. Interesting to note that Mildred's maiden name was Pearce, considering the fact that Davis was offered (and turned down) the Joan Crawford Oscar winning vehicle "Mildred Pierce". Davis made it clear that she found Dunaway difficult to work with and not a very good actress, and as much as I agree with Ms. Davis on some things, Dunaway not being a good actress is NOT one of them.
Perhaps demanding in real life, Dunaway has always been commanding in her performances, and she is someone you never take your eyes off of. Her beauty was made for the movie camera, and before she went down the road of camp as Crawford in "Mommie Dearest", she had a sincerity and femininity like few other 1970's stars. Even in her melodramatic or bitchy roles ("Chinatown" and "Network"), there was always something alluring about her. As Aimee. she does command every moment where she is on the podium preaching, and when she reveals the claims about her kidnapping, she is so sincere that you too begin to wonder "How can she be lying?" even when it seems that there is no way that she could be telling the truth.
A Dunaway/Davis pairing, even with the alleged animosity, is filled with sparks. Davis commands the screen with those eyes; Dunaway's mouth is what drives you to watch her. They have mostly warm scenes together, but when Davis confronts her over the possible lies, you get the hints that Mildred Kennedy did not know for sure. Hugs between the two are heated as well, making you want to check out both of their hands for knives. As the attorneys involved in the case, James Sloyan and James Woods have a disgust on their face towards McPherson that reveal so much more than whether they believe her to be lying or not, just their disgust over her entire existence and the manipulation of the public that crammed into McPherson's services. The 1920's details seem perfect as well. I was surprised that the Emmy's totally snubbed this as it seems to be the type of film that would get as much glory at Hollywood award shows as Aimee would feel on the platform that allegedly cured many as well as the thousands it brought to righteousness.