Directed by Josephine Decker
Written by Sarah Gubbins (screenplay), based on the novel by Susan Scarf Merrell
Starring Elisabeth Moss, Odessa Young and Michael Stuhlbarg
Running time: 1 hour and 47 minutes
MPAA rating: R for for sexual content, nudity, language and brief disturbing images

by Rosalie Kicks, Old Sport

“A little novella, I’m calling None of Your Goddamn Business.” 

It really took until this whole pandemic thing for me to realize the true introvert that I am. I have been on lock-down for eighty-two days and I have yet to feel the pining for human interaction. Much as Elizabeth Moss playing the renowned recluse horror writer, Shirley Jackson – I too find comfort in my projects or, as I refer to them, experiments. It is only when my well runs dry that I truly experience the feeling of loneliness.

Josephine Decker’s Shirley is a semi-biographical account of the late writer, Shirley Jackson. The screenplay, written by Sarah Gubbins, was adapted from a novel of the same title, by Susan Scarf Merrell. When a young couple moves in with Shirley and her husband, Stanley Hyman (Micahel Stuhlbarg), it is through the unexpected relationship between Shirley and Rose (Odessa Young) that one is given this window into Jackson’s true self and her pain. Rose and her husband Fred were initially invited to stay at the residence for a short period, as Fred participates in an internship of sorts by assisting Stanley at the New England college he teaches at. Stanley informs Fred and Rose that it would be helpful if she (Rose) were to take on some of the housekeeping duties (because she is a woman of course -insert eyeroll here-) as Shirley is experiencing another one of her spells. Josephine Decker manages to capture the complicated bond between these two women and their ability to open up to each other in such a moving and powerful way. It is rare, even in 2020, to be given the opportunity to experience a film with the focus of friendship between two women.

Essentially, at the heart of this tale is a story about women and their place within a society. Shirley Jackson was like a tornado within this period of time she found herself in. She was a desperately needed voice, that many weren’t sure quite how to handle. The film focuses on a particular moment within Jackson’s life – when she was writing her famed novel, Hangsaman later published in 1951. The film weaves a semi-fictional experience of her penning Hangasman- a tale that was based on the true story of a college girl, Paula Jean Welden, who mysteriously disappeared after she set out for a walk on December 1, 1946- to demonstrate the idea that women, particularly of this time often were only seen after they disappear. The expectations of women and their place within society during the late 1940s and early 1950s sadly still rings true today in many regards. Which, for me, sends a distress signal that our work is far from done. 

We are first introduced to Shirley Jackson holding court in her living room, downing a stiff drink and firing back witticisms at her party guests. The next day we find her confined to her bed without the strength to face the day… that is until husband Stanley dangles a potential cocktail hour. I don’t feel I am stretching the truth when I say, Shirley was not afraid to speak her mind or go against the grain of what was noted as the acceptable behavior of women for the time. Moss’s version of the gothic writer is portrayed as a sharp tongued, unapologetic lady that lived without a filter. However, as much as Jackson’s actions and words sell the idea of a person that is strong and independent it is through Moss’s exceptional performance that one pays witness to Jackson’s true being. One’s exterior is only part of the story. Decker manages to capture the acclaimed author’s vulnerability and struggles she faced within. Jackson’s battles with depression and agoraphobia seemed to be only the tip of the iceberg. Her difficulties with being able to socialize, often led her to shutting those around her out. Building metaphorical walls in order to distance herself from relationships or the possibility of emotional discomfort… the art of feeling. Much like me, your fellow old sport, I am guessing Shirley would have done just fine with this social distancing thing. 

I first saw this film at Sundance 2020 (which feels like a zillion years ago) and I still recall upon exiting the theater the moment of realization that I had regarding the importance of the female voice in filmmaking. It is rare that I not only can relate to a character that I see on screen but feel understood. The representation of a creator that is so laser focused on her work and the compulsion to give everything within her being to the project was encouraging to see. Over the years, I have found it hard to articulate my inner feelings to my fellow beings, but it is through my experiments in my film laboratory that I find true joy and am able to express myself. My film collection has become the place I turn when I need help and, although that may seem strange to others, it is what works for me. There is a scene towards the end of the film, in which Stanley remarks to Shirley that her book is brilliant and she states, “...it hurts more than the rest.” Which, for me, is the feeling I often experience upon the completion of a project, when the work comes to a close and you are once again faced with nothingness. 

This is not a film that wastes its time becoming too complex or convoluted. It tells the story of a fascinating individual and the way in which she connected with this world. I am hopeful, it will inspire viewers to not only check out more of Josephine Decker’s work, but to seek out the writings of Shirley Jackson. If you’re looking for a place to start, may I suggest We Have Always Lived in The Castle, which also was made into an exceptional film adaptation last year, by another female filmmaker Stacie Passon. 

Watch Shirley via virtual cinema on Friday, June 5. More information on where to watch here.