‘Desperately Seeking Susan’ director Susan Seidelman takes stock of her groundbreaking career

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As a young woman with a passion for storytelling and a dream to make movies, I relate deeply to Susan Seidelman’s journey. Her aptitude test result may have initially seemed like a disappointment, but it ultimately led her to discover her true calling as a librarian who loves stories – just like me.

Susan Seidelman is an advocate for the chaotic journey towards success. The acclaimed movie and TV director, whose “Desperately Seeking Susan” is a renowned feminist screwball comedy from the ’80s and is preserved in the National Film Registry, has consistently trusted her instincts to guide her. However, this doesn’t mean her career was an accident or that she relied on chance or luck. As a woman, she faced limited room for error, so hard work was essential, but also the ability to remain playful and flexible in her approach to achieving greatness.

In my perspective, that method has led me to a distinctive and daring path in filmmaking, venturing into uncharted territories within and beyond the confines of Hollywood. Back in 1982, I kick-started the indie film movement with my debut, “Smithereens.” Later on, I became one of the rare female directors to make a mark in Tinseltown. From my humble abode in upstate New York, I share, “I don’t set specific goals for myself, but I am incredibly determined.”

Seidelman’s first book, “Desperately Seeking Something: A Memoir About Movies, Mothers, and Material Girls,” was published on June 18, 2020. Previously, she had only thought about writing down her personal experiences and public life at a much later stage in her life. However, unexpectedly, “later” came earlier than expected due to the pandemic that halted her projects and provided her with the opportunity to focus on writing instead.

(St. Martin’s Press)

The COVID-19 pandemic presented a significant challenge for Seidelman as she spent the first two weeks in lockdown with her partner, Jonathan Brett. Sadly, during this period, she received devastating news: Mark Blum, an actor known for his role in “Desperately Seeking Susan,” had passed away due to complications from the virus.

In our filmmaking circle, Mark was unfortunately among the first to fall ill with COVID-19, an experience that deeply affected me. Additionally, I recently turned 70 and was forced to confront my own mortality in a more profound way than before. With a lifetime of experiences under my belt, Seidelman felt it was the right moment for introspection.

I’ve always been more of a visual learner and creator, so the thought of writing an entire book was truly daunting for me. But as they say, every cloud has a silver lining. With the pandemic keeping us all indoors, I found myself with unexpected time on my hands. And in this quiet stillness, ideas began to take shape and coalesce, slowly but surely transforming into something that resembled a book.

Seidelman utilized her iPhone’s Notes app as a tool for jotting down ideas: “I stumbled upon this app and began recording stories in this manner.” Within a week, she had compiled one hundred tales. After several months, her collection had grown to one thousand. According to her, the experience evolved into an activity akin to film editing: “I exported all the notes and rearranged them to explore different possibilities.”

As a movie critic in the first person, I’ve seen my fair share of chaotic productions, and it’s no surprise to me. In the 1980s Reagan era, Seidelman stood out as an unlikely filmmaker. With a beard, baseball cap, and an insatiable appetite for complex films, she defied the Hollywood stereotype: tall, polished directors with big-budget visions. “I’m barely five feet,” Seidelman explains. “Walking into a studio executive’s office, they would have raised their eyebrows in disbelief. So I had to prove myself, as no directors looked like me.”

I’ve been deeply intrigued by the evolution of American cinema over the past four decades, and “Desperately Seeking Something” masterfully chronicles this journey through the unique lens of Seidelman’s distinguished career. When Seidelman, fresh out of New York University film school, managed to secure funding for her debut film “Smithereens,” she harbored no grand plans beyond directing. Yet, the raw energy and charm of her creation struck a chord with viewers, transforming it into an art-house sensation.

As a movie enthusiast, I’d put it this way: “I was thrilled when I learned that ‘Smithereens’ made its debut at the prestigious Cannes Film Festival. It was the first independent film to be showcased in competition there, paving the way for the New York indie film scene. Little did we know, Seidelman’s groundbreaking work would open doors for visionaries like Jim Jarmusch, Spike Lee, and Bette Gordon.”

Seidelman didn’t have any prior influences in her young movie-going years; the only female-directed film she recalls seeing at the cinema was Elaine May’s “A New Leaf,” which she watched in Philadelphia back in 1969, during her high school senior year. At the time, her guidance counselor mandated that she take an aptitude test to help identify potential careers for her. The results indicated a librarian would be a suitable fit. Initially, Seidelman was displeased by this suggestion, but later came to understand the truth – just like a librarian cherishes tales, so did she.

After finishing “Smithereens,” Seidelman was appointed to helm a Hollywood film for the first time. Notably, “Desperately Seeking Susan” (1985), where a dissatisfied New Jersey housewife (Rosanna Arquette) inexplicably loses her memory and adopts the persona of an East Village trendsetter (Madonna), was penned, funded, and steered entirely by women – an unprecedented occurrence in the industry. This comedy, which coincidentally aligned with Madonna’s burgeoning pop stardom, proved to be a financial success and a cultural sensation.

1985’s “Desperately Seeking Susan,” starring Rosanna Arquette, left, and Madonna, was written, produced and directed entirely by women — unheard of at the time.
(Sunset Boulevard / Corbis via Getty Images)

“According to Seidelman, ‘Desperately Seeking Susan’ would have taken on a whole new shape without its female producers and scriptwriters. As I identified with both leads, it felt natural for me to direct the movie in this capacity.”

As a passionate film enthusiast, I can’t help but feel elated as I reflect on the remarkable accomplishments of director Seidelman. Following the resounding success of her films, she secured a significant four-picture deal with Orion Pictures – an impressive milestone for any female filmmaker. Furthermore, Seidelman played a pivotal role in the early days of HBO’s renaissance. She helmed the pilot for “Sex and the City” and contributed numerous projects to both HBO and Showtime. At that time, Hollywood had barely started acknowledging the talents of female directors, making Seidelman’s achievements even more noteworthy.

During my undergrad years at Drexel University, I didn’t harbor any ambitious plans to become a film director. However, everything changed during my junior year when I enrolled in a film appreciation class out of curiosity. I was completely captivated by the works of directors like Bergman, Antonioni, and Varda. They opened my eyes to the art of creating complex characters and manipulating narrative structures. It was an enlightening experience, providing me with the endless tools required for crafting compelling film stories.

Right from the start, Seidelman aimed to create films featuring powerful and independent female leads. This was an unconventional approach in an industry heavily dominated by male testosterone. Despite facing criticism, Seidelman remained committed to examining themes of femininity and power. In 1987, he released “Making Mr. Right,” a witty social commentary on a relationship between a PR executive (Ann Magnuson) and a robot scientist’s creation (John Malkovich). This film cleverly reversed the trend of producing movies where men build “perfect women.” However, Seidelman faced backlash from male critics who disapproved of the concept of a woman choosing a programmable “love bot” over human companionship.

I’ve noticed an intriguing pattern in the critiques of many top films: most of the writers were men. Unconsciously or not, this could have introduced a bias against works created by women. An intriguing example is the film “Making Mr. Right,” which struggled financially at its premiere but has since gained renewed appreciation from younger audiences.

Seidelman’s latest memoir offers guidance on staying faithful to one’s artistic values while maintaining integrity in Hollywood’s competitive and unforgiving environment.

As I sat down to write this book during those unsettling times, the world around me felt like a set from a science fiction film. But with the passage of time and newfound wisdom, I’ve managed to attain enough perspective on my life that writing about it no longer leaves me burdened by the emotional weight of my youth. For instance, at 37 years old, a harsh movie review can still sting, but not in the same all-consuming way it once did.

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2024-07-18 19:03