SUPERSTAR: THE KAREN CARPENTER STORY
A film review by Thomas E. Billings
Copyright 1989 Thomas E. Billings
SUPERSTAR - THE KAREN CARPENTER STORY [*not* the TV movie!]
Director: Todd Haynes Written and Produced by: Todd Haynes and Cynthia Schneider Length: 43 minutes; color; documentary
Distributed by: Apparatus Productions; 225 Lafayette St; #507;
New York, NY 10012 [Phone 212-219-1990]
Reviewed by: Thomas E. Billings, Dept. of Statistics, University of California, Berkeley Reviewer contact: teb@bizet.Berkeley.EDU
Capsule Summary:
A psychological docu-drama about the life and death of pop
singer Karen Carpenter, who died in 1983 at age 32 from heart
failure. Her death came after a long struggle with anorexia
nervosa, a mental illness whose sufferers submit to extreme
self-starvation. The unique aspect of this film is that the all
the major roles, including Karen, her domineering "stage
mother," father, and her brother Richard, are played by Barbie
dolls!
The 1970's were a time of turmoil in America; the Vietnam war and the accompanying domestic unrest. The 1970's also saw the rise of feminism and other new political and religious movements. In a certain figurative sense, America was searching for itself, i.e., for new symbols of itself. Against the backdrop of all this turmoil, Karen and Richard Carpenter, performing as "The Carpenters," rose to great popularity with their ever-so-bland, ever-so-smooth, style of pop music. The music of the Carpenters relied heavily on Karen's unique and very melodic voice [even critics that hated their style praised Karen's voice!].
The Carpenters had a squeaky-clean image, in particular Karen, whose image was that of "Miss Goody-Two-Shoes." The Carpenters, Karen in particular, effectively became symbols of/for America at the time (with the induced pressures and public expectations). As a symbol of America, Karen was used (and abused) by the music industry. The extreme pressures of family, career, public expectations all contributed to the development of her anorexia nervosa, which indirectly contributed to her premature death.
SUPERSTAR - THE KAREN CARPENTER STORY is a unique film. As the film opens, Karen's mother discovers Karen, dead, in the closet of the bedroom that her parents kept for her in their Downey (suburban Los Angeles) home. This is one of the few live-action sequences. The film then shifts in time to the early 70's, where we see Karen (portrayed by a brunette Barbie doll), a happy teenager singing along with the radio. Scenes of the early successes of the Carpenters (as dramatized by the dolls) are interspersed with newsreel footage of civil unrest, the bombing of Cambodia, and scenes from popular TV programs of the time. As we see the bombs being dropped, we hear the smooth, comforting singing of Karen Carpenter. The effect of this is an unreal juxtaposition; you feel that you are detached from reality, that reality is just a TV show or movie. The contrast between the soft music of the Carpenters and the violence/turmoil of the 70's is jarring.
Continuing, the film documents Karen's slide into the personal hell of anorexia nervosa. We see the severe pressures put on Karen by her brother, and the smothering control of her mother. Background information is supplied on the condition of anorexia nervosa (as is appropriate for a documentary). Karen's intense inner struggle with food and laxatives (some anorexics take massive doses of laxatives to purge themselves) is carefully dramatized.
Towards the end, Karen realizes that she is sick, and reaches out for help. This is addressed in a very dramatic scene, where Karen (portrayed by a doll whose face has been scraped down, then repainted, yielding a grotesque image) tells Richard that she has anorexia. The reaction of the Richard doll is to talk about contractual obligations. One is left with the impression, that despite Karen's grotesque "death mask," it is Richard that is the grotesque one!
The film is told from Karen's point of view, and it is very sympathetic to her. Karen's parents (particularly her mother) and brother are not treated as sympathetically. They are portrayed as either "using" or "controlling" Karen, while her wants and needs go unfulfilled.
Despite the use of Barbie dolls for actors, or perhaps because of their use, this film succeeds on many levels. It is very touching, and one is left with the feeling that Karen Carpenter's death was a terrible tragedy. The film leaves one saddened at her loss.
The film succeeds on another level (albeit unintended). Cynics, and anyone that hates Karen Carpenter (or what she symbolized) can see this film and laugh at it. Because of the use of Barbie dolls, there are scenes where you cannot help but laugh. Additionally, there are some ironic/humorous twists: in dramatizing the family struggle caused by Karen's self-starvation, there are brief flashes to scenes where a female doll (Karen?) is receiving a spanking on her bare backside! Such a scene can be explained as an illustration of the smothering parental control most anorexics must overcome. Such a scene might be considered 'kinky' for other reasons (after all, Karen was an adult).
Make no mistakes; this film is definitely worth seeing! The reasons for seeing it are: 1. thoughtful, moving tribute to a young woman who died tragically 2. novelty value. How many films have you seen where all the actors are Barbie dolls? 3. sardonic humor (present in the movie, though not intended by its creator). SUPERSTAR - THE KAREN CARPENTER STORY transcends the limitations of Barbie dolls and presents a very sad story in a very honest fashion. I give it my highest recommendation.
Note: this film is not in wide-spread distribution at present. I have included the name and address of the distribution company (which is also the production company). It is also questionable (due to music rights) whether/when this film will ever turn up on cable. I suggest that you encourage film festivals in your area to screen it. Alternatively, try to get a theatre in your area to show it as a "Midnight Movie." Here in Berkeley, it is shown every Friday midnight, along with "He May Be Dead, But He's Still Elvis" (a biting satire on the exploitation of dead stars). Finally, I should mention that there is NO connection of any kind between this reviewer and the distribution company.
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