Patricia Neal: An Unquiet Life Review

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Patricia Neal: An Unquiet Life ReviewI just saw Patricia Neal's superlative performance in Elia Kazan's still-amazing "A Face in the Crowd" for the first time on DVD this past week and was reminded what a searing screen presence she could be. Author Stephen Michael Shearer, a former actor and longtime friend of Neal's, has seen fit to write a comprehensive biography of the actress just as she turns eighty this year. Her work is definitely worth revisiting, and what's more, her life is thick enough with professional triumphs and personal traumas to justify the rather expansive 441-page length. It's obvious why Shearer has taken such an interest in the actress's fascinating life, and he can certainly be guilty of providing a fair amount of fawning to go along with his sharp insights, especially in the early parts of the book.
With her striking beauty and throaty bluegrass-tinged voice, Neal achieved success early, first hitting big on Broadway in Lillian Hellman's "Little Foxes" prequel, "Another Part of the Forest", and then scooped up by Hollywood in 1949. In short order, she co-starred as headstrong Dominique Francon in the lavish, highly flawed adaptation of Ayn Rand's "The Fountainhead" and immediately embarked on a five-year affair with screen legend Gary Cooper, very married and a quarter century older. While it was not quite the level of the Ingrid Bergman-Roberto Rossellini scandal happening at almost the same time, Neal still faced not only a cold-blooded industry but also an unwanted abortion and ultimately a nervous breakdown despite strong early impressions in 1950's "The Breaking Point" (said to be Hemingway's favorite adaptation of his work) and the 1951 sci-fi classic, "The Day the Earth Stood Still" (uttering her famous words -"Gort! Klaatu barada nikto!"). Neal married famed children's author Roald Dahl after the Cooper affair ended. As she started to raise a family, she made a comeback in Kazan's masterwork which led to her feline turn as the interior decorator in "Breakfast at Tiffany's" and her Oscar-winning performance as the sensual, worldly wise housekeeper Alma in "Hud".
Despite her impressive professional success, the most interesting, obviously devastating parts of the book occur after her career peak in "Hud" when she tragically suffered three burst cerebral aneurisms while pregnant. Dahl was her constant, goading caretaker but also the source of escalating personal pain as he embarked on an extramarital affair that finally ended their marriage after thirty years in 1983. Shearer covers these years in great detail, but I think his portrayal of Neal's obviously complex relationship with Dahl could have delved somewhat deeper into the impact of the strokes and the death of their first child on both parties. The author also remains light on the facts that could have precluded Neal's medical condition at the time, even though her long-term recovery is covered in painstaking detail here. Afterward, she was able to turn in stellar work in 1968's "The Subject Was Roses" and 1971's "The Homecoming", the precursor to the long-running TV series, "The Waltons". Overall, the author's admiration for his subject remains uncompromised, and he succeeds in painting a celebratory portrait of an actress who never seems to get her due.Patricia Neal: An Unquiet Life Overview

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