STRANGERS: THE STORY OF A MOTHER AND DAUGHTER was a deeply moving 1979 TV movie that brought the divine Bette Davis to the small screen near the end of her career. Davis plays a cranky old woman who is totally thrown by the appearance of her daughter (Gene Rowlands)who has come to stay with her, despite the fact that they have been estranged for years. Davis' Lucy can't understand why Rowlands' Abigail now wants to have a relationship with her until it is revealed that Abigail is dying and wants to make peace with her mother. Bette Davis won an Emmy for her work in this well-written tearjerker but Rowlands is equally effective as a woman thrown a devastating curve in her life and realizes that she needs the mother she had forsaken so many years ago. Watching these two dance around reconnecting with each other is sometimes difficult to watch, but these two amazing actresses make this TV movie grand television.
9 Reviews
Daughter comes home
bkoganbing24 September 2020
Strangers is a fine made for TV drama, short on plot, but long and deep on character portrayal. The two characters here are mother and daughter Bette Davis and Gena Rowlands and Gena Rowlands has come home to her Rhode Island home town after years away.
Davis is not thrilled to see her and we only get bits and pieces of why she left and stayed away. It was a nasty split though.
The film is the story of their reconciliation and Rowlands has a terrible secret that she eventually tells Davis.
Bette Davis won an Emmy to go with her two Oscars for Strangers. It's a pity that the Emmy couldn't be given jointly to both women. Davis and Rowlands play beautifully off each other.
One of the best made for TV films out there. For Gena's and Bette's fans a must.
Davis is not thrilled to see her and we only get bits and pieces of why she left and stayed away. It was a nasty split though.
The film is the story of their reconciliation and Rowlands has a terrible secret that she eventually tells Davis.
Bette Davis won an Emmy to go with her two Oscars for Strangers. It's a pity that the Emmy couldn't be given jointly to both women. Davis and Rowlands play beautifully off each other.
One of the best made for TV films out there. For Gena's and Bette's fans a must.
It takes a dying daughter to bring the mother back to life.
mark.waltz4 October 2018
Warning: Spoilers
There's more to Bette Davis's grumpy old woman than her constant yelling at the neighborhood kids to get off her lawn (and stop ringing her doorbell for no reason). She's had over 20 years of reasons to be angry, even more over the past few since her husband died. One day out of the blue, the doorbell rings, and determined to catch the kids in the act, Davis opens it up furiously only to find her daughter, Gena Rowlands, standing there. Not saying a word and looking even more angry than she had been if it was the kids, Davis begrudgingly allows Rowlands in who continues to talk to her mother without response. Suddenly, Davis erupts, demanding to know why she is back and refusing to be hurt by her ever again. Obviously there is more to the story than just the prodigal daughter coming back out of the blue, which has caused the anger in her heart to freeze her completely. The audience soon learns that Davis was resentful of Rowland's closeness to her late father, Rowlands not showing up for the funeral, and once they begin to re-bond the real reason why Rowlands has returned.
With a fury of her response to learning why Rowlands is back, a slap and a slam of the door as she retreats to her room, the mask of Bette's character comes off, and you see the humanity hidden deep inside her, the fear and the anger, and the love she has hidden out of necessity. Like fellow aging actress Sylvia Sidney, as Bette aged, she became the epitome of old lady crankiness, but very rarely did she get to show what was behind all that other than having a way with line readings that could stop her victim cold if they became a victim of her acid tongue. But when Bette smiles, the 70 something years on her face seems to evaporate, and you suddenly see all those 1930's and 40's heroines again. She lights up the room, and as the estranged mother and daughter begin to finally bond, it appears that they are really getting to know each other.
While Davis deservedly won the Emmy for this role, Rowlands is no second stringer when it comes to being a legendary talent. Each character is richly written with nuances that makes their personalities special. Rowlands has a unique way of dealing with the door ringing and running kids, brings neighbors whom Bette has barely acknowledged over the years back into their lives, and when neighbor Donald Moffat snaps a picture of them, you can tell that this is one item Bette's character will want to be buried with her. Set somewhere on the New England ocean shore, this is a tribute to Bette's Yankee spirit (having been born in Lowell Mass.) and that tough, independent spirit aspect of her character (mixed with deep humanity) shows a part of Bette that she managed to hide in many of her films. The ending isn't sad, but triumphant, and shows the power of how families can move past old resentments and deep hurts once they put their pride away for the good of the others around them. It's a reminder that when you go out of your way to help somebody, you are really helping yourself in rewarding ways that have no monetary value.
With a fury of her response to learning why Rowlands is back, a slap and a slam of the door as she retreats to her room, the mask of Bette's character comes off, and you see the humanity hidden deep inside her, the fear and the anger, and the love she has hidden out of necessity. Like fellow aging actress Sylvia Sidney, as Bette aged, she became the epitome of old lady crankiness, but very rarely did she get to show what was behind all that other than having a way with line readings that could stop her victim cold if they became a victim of her acid tongue. But when Bette smiles, the 70 something years on her face seems to evaporate, and you suddenly see all those 1930's and 40's heroines again. She lights up the room, and as the estranged mother and daughter begin to finally bond, it appears that they are really getting to know each other.
While Davis deservedly won the Emmy for this role, Rowlands is no second stringer when it comes to being a legendary talent. Each character is richly written with nuances that makes their personalities special. Rowlands has a unique way of dealing with the door ringing and running kids, brings neighbors whom Bette has barely acknowledged over the years back into their lives, and when neighbor Donald Moffat snaps a picture of them, you can tell that this is one item Bette's character will want to be buried with her. Set somewhere on the New England ocean shore, this is a tribute to Bette's Yankee spirit (having been born in Lowell Mass.) and that tough, independent spirit aspect of her character (mixed with deep humanity) shows a part of Bette that she managed to hide in many of her films. The ending isn't sad, but triumphant, and shows the power of how families can move past old resentments and deep hurts once they put their pride away for the good of the others around them. It's a reminder that when you go out of your way to help somebody, you are really helping yourself in rewarding ways that have no monetary value.
One of my favorites.
mcnancy28 December 1998
I "discovered" Bette Davis when I was a teenager and read her autobiography. After that I made every effort to view as many of her movies as I could and became an avid fan. This movie is an example of some of her finest work. I can vividly remember, even after all this time, one particularly emotional scene between Bette and Gena in which Bette, as the mother, lets her daughter know how painful it is to love someone the way she loves her daughter. It's powerful stuff and quite thought provoking. If this movie is ever replayed on TV or is available on video, do yourself a favor and watch it. You'll see why Davis is considered one of the greatest actresses of all time.
Rebuilding estranged relationships
TheLittleSongbird26 November 2018
A wonderful actress like Bette Davis is reason enough to see any of her films, most of them ranged between good to masterpiece and Davis seldom gave a bad performance (though she did do some projects that didn't use her talents well). Her Margo Channing in 'All About Eve', a favourite of mine, is iconic. Am hardly dismissing Gena Rowlands though, she's always worth watching if not in the same league as Davis.
'Strangers: The Story of a Mother and Daughter' is a must see for both actresses and should have more exposure and be seen more. It is great though that it is remembered and reviewed so fondly. Both Davis and Rowlands are more than well served here, and the treatment of such a relatable and hard-hitting subject matter is both sensitive and poignant, not the easiest of watches by all means but this is meant in a good way.
Davis shows how truly great an actress she was in an initially cranky yet very heartfelt performance. Some of her best work in the later years of her long career and her Emmy win was richly deserved. Rowlands is also very moving, she seldom had a role as poignant as the one she has in 'Strangers: The Story of a Mother and Daughter'. The two have a charming and affecting chemistry together and their relationship and characters have such a realism and make the story even more compelling and emotionally impactful.
It is easy though to overlook the rest of the cast, and while it is the two leads' show they shouldn't be, all giving performances that complement nicely. 'Strangers: The Story of a Mother and Daughter' is sympathetically directed and paced in a way that never feels rushed or draggy.
The writing is sensitive and thought-provoking and the story is lifted by the relationship between Davis and Rowlands and is charming and poignant. As said, it is not the easiest of watches but that works in 'Strangers: The Story of a Mother and Daughter's' favour, showing a realistic treatment of the subject and not trivialising it while not going over-sentimental. The characters are relatable and avoid being clichéd.
Visually, 'Strangers: The Story of a Mother and Daughter' looks lovely, never being too flashy while not looking like something hindered by budget.
Overall, a beautiful emotional story carried by the superb performances of Rowlands and especially Davis. 10/10 Bethany Cox
'Strangers: The Story of a Mother and Daughter' is a must see for both actresses and should have more exposure and be seen more. It is great though that it is remembered and reviewed so fondly. Both Davis and Rowlands are more than well served here, and the treatment of such a relatable and hard-hitting subject matter is both sensitive and poignant, not the easiest of watches by all means but this is meant in a good way.
Davis shows how truly great an actress she was in an initially cranky yet very heartfelt performance. Some of her best work in the later years of her long career and her Emmy win was richly deserved. Rowlands is also very moving, she seldom had a role as poignant as the one she has in 'Strangers: The Story of a Mother and Daughter'. The two have a charming and affecting chemistry together and their relationship and characters have such a realism and make the story even more compelling and emotionally impactful.
It is easy though to overlook the rest of the cast, and while it is the two leads' show they shouldn't be, all giving performances that complement nicely. 'Strangers: The Story of a Mother and Daughter' is sympathetically directed and paced in a way that never feels rushed or draggy.
The writing is sensitive and thought-provoking and the story is lifted by the relationship between Davis and Rowlands and is charming and poignant. As said, it is not the easiest of watches but that works in 'Strangers: The Story of a Mother and Daughter's' favour, showing a realistic treatment of the subject and not trivialising it while not going over-sentimental. The characters are relatable and avoid being clichéd.
Visually, 'Strangers: The Story of a Mother and Daughter' looks lovely, never being too flashy while not looking like something hindered by budget.
Overall, a beautiful emotional story carried by the superb performances of Rowlands and especially Davis. 10/10 Bethany Cox
Movie has charm and poignancy
Brthtkgguy24 January 2003
Warning: Spoilers
***SPOILERS*** ***SPOILERS*** If you are able to find this rare title, it still holds the same power that it held when it debuted on network TV in 1979.
Bette Davis plays crotchety Lucy Mason, a widow whose daughter had deserted her many years prior. Gena Rowlands plays long-lost daughter Abigail who suddenly appears out of nowhere to reunite with her mom.
It is never clear until much later in the film why Abigail is suddenly back but what is apparent is that Lucy is none too thrilled. Lucy blames Abigail for the marital discord between her and her dead husband. Abigail offers little remorse but in a final confrontation they finally settle their differences and mother and daughter begin to seemingly heel old wounds.
Until Lucy discovers that Abigail has returned home to die.
This is one of Davis's best roles of her later years. She plays Lucy with a wide range of the emotions that she was known for but less scene chewing. It was as if Davis was re-enacting the strained relations she had with her real life daughter. Her heavy smoking had taken a toll on her voice, but the cracking only added to the snarling warmth of her character. Gena Rowlands steals many a scene by underplaying her character against Davis's occasional outbursts. Both captured their characters beautifully. In her last book shortly before her death, Rowlands was one of the few actresses to escape Davis's wrath. Their off-camera admiration for each other comes across in the heartwarming moments leading up to an emotional surrender in the last scene.
The moment when Davis learns her daughter did indeed use her to come home to die pulls out a powerful resistance from the seasoned actress.
The script is well written, the music appropriate and the New England setting adds a surreal calmness to the storm between these two headstrong women. This is must-see TV for any mother and daughter in a strained situation.
Bette Davis plays crotchety Lucy Mason, a widow whose daughter had deserted her many years prior. Gena Rowlands plays long-lost daughter Abigail who suddenly appears out of nowhere to reunite with her mom.
It is never clear until much later in the film why Abigail is suddenly back but what is apparent is that Lucy is none too thrilled. Lucy blames Abigail for the marital discord between her and her dead husband. Abigail offers little remorse but in a final confrontation they finally settle their differences and mother and daughter begin to seemingly heel old wounds.
Until Lucy discovers that Abigail has returned home to die.
This is one of Davis's best roles of her later years. She plays Lucy with a wide range of the emotions that she was known for but less scene chewing. It was as if Davis was re-enacting the strained relations she had with her real life daughter. Her heavy smoking had taken a toll on her voice, but the cracking only added to the snarling warmth of her character. Gena Rowlands steals many a scene by underplaying her character against Davis's occasional outbursts. Both captured their characters beautifully. In her last book shortly before her death, Rowlands was one of the few actresses to escape Davis's wrath. Their off-camera admiration for each other comes across in the heartwarming moments leading up to an emotional surrender in the last scene.
The moment when Davis learns her daughter did indeed use her to come home to die pulls out a powerful resistance from the seasoned actress.
The script is well written, the music appropriate and the New England setting adds a surreal calmness to the storm between these two headstrong women. This is must-see TV for any mother and daughter in a strained situation.
Much like "Terms of Endearment"....but far more painful and raw.
planktonrules24 May 2023
"Strangers: The Story of a Mother and Daughter" is a made for TV movie with a plot very similar to "Terms of Endearment", which came out a few years later. However, while I didn't particularly enjoy the latter movie, I really thought this made for TV film was terrific...and the acting was so incredibly real and honest.
The story begins with Abigail (Gena Rowlands) arriving unannounced on her mother's doorstep. Now, considering that they haven't talked or communicated for years, it's a surprise. And, when Lucy (Bette Davis) lets her in the house, she refuses to speak to her for some time. During this painful silence, Abigail reacts by talking and talking. Finally, an avalanche of hate, anger and hurt come pouring out of Lucy...and she tells her she wants her to leave. But Abigail refuses...and the next few days are painful. Why would she stay when he clearly isn't wanted? Well, it turns out Abigail is dying...and she wants to mend fences with her mom and find a place to die.
The story is depressing...that can't be denied. But the acting by both Rowlands and Davis is wonderful...uncompromising and honest. It's really a treat to see two such terrific actresses and instead of trying to upstage each other, they complemented each other well. It also helped that there was a terrific script. Well worth seeing...and a film to see with some Kleenex nearby.
The story begins with Abigail (Gena Rowlands) arriving unannounced on her mother's doorstep. Now, considering that they haven't talked or communicated for years, it's a surprise. And, when Lucy (Bette Davis) lets her in the house, she refuses to speak to her for some time. During this painful silence, Abigail reacts by talking and talking. Finally, an avalanche of hate, anger and hurt come pouring out of Lucy...and she tells her she wants her to leave. But Abigail refuses...and the next few days are painful. Why would she stay when he clearly isn't wanted? Well, it turns out Abigail is dying...and she wants to mend fences with her mom and find a place to die.
The story is depressing...that can't be denied. But the acting by both Rowlands and Davis is wonderful...uncompromising and honest. It's really a treat to see two such terrific actresses and instead of trying to upstage each other, they complemented each other well. It also helped that there was a terrific script. Well worth seeing...and a film to see with some Kleenex nearby.
Astutely judged mother-daughter drama nimbly avoids soapy trimmings...
moonspinner5524 May 2009
Irreproachable middle-aged woman comes home to her strong-willed mother to reconcile their differences--ostensibly; turns out she has a problem to share, which causes her mercurial mama to take offense. Thanks in no small part to the superlative performances by Emmy-winner Bette Davis and Gena Rowlands (two incomparable actresses), this made-for-TV drama turns out to be a wrenching and moving examination of an estranged relationship with a begrudging love still left inside. Milton Katselas' beautiful direction, from a careful, thoughtful teleplay from Michael De Guzman, allows the two ladies room to emote and sound off, yet the histrionics aren't over-the-top. Katselas is able to weave the intricate, touchy emotions together into a nearly-seamless pattern, making this a real acting showpiece for his stars.
A good first draft, but lacks depth
HotToastyRag6 October 2023
In this television drama, Gena Rowlands returns to her small town to visit her estranged mother, Bette Davis. Bette isn't happy to see her and tells her repeatedly to leave. The bad blood between them is still a very fresh wound, even though it's been fifteen years, and she's not ready to discuss it. Gena is persistent and keeps a smile on her face through Bette's caustic remarks. Is she broke and needs a roof over her head? Is she wanted by the law and thinks the cops will never look for her there? It's clear she has a reason for coming home, but we don't know what it is.
Most of the movie features the type of acting Bette Davis used when she was older: a blatty, one-dimensional shout that tries to reach the back row. Even though she was a stylized actress in the 1930s, her "style" seemed to change when she got older, as if she wanted to tell her audience, "I'm not going to adapt to modern times and you can't make me!" I always found it very sad to watch Bette when she got older. I'm glad I gave Strangers a chance because there were a couple of scenes when she let her "modern façade" down and allowed her good, old-fashioned acting shine through. When she stopped shouting at her daughter and allowed her heart to break open, it was very effective. She could have adapted to modern times if she wanted to!
Gena's performance used her usual, professional style, and both women put as much into the teleplay as they could. However, the script wasn't as moving as it could have been. It felt like a good skeleton, with the key plot points laid out, but the meat of the dialogue was only just touched upon. It truly seemed like a second draft, with third and fourth ones in progress but not yet typed. The difference between a ninety minute movie and the original six-hundred page novel can be felt in this tv drama. Where's the companion piece we can read to understand the characters better?
If you love Gena, you can rent this one. She's far softer than in some of her other movies like Gloria. In the supporting cast, you'll see Donald Moffat, Royal Dano, and a cameo as a doctor (what else) Whit Bissell.
Most of the movie features the type of acting Bette Davis used when she was older: a blatty, one-dimensional shout that tries to reach the back row. Even though she was a stylized actress in the 1930s, her "style" seemed to change when she got older, as if she wanted to tell her audience, "I'm not going to adapt to modern times and you can't make me!" I always found it very sad to watch Bette when she got older. I'm glad I gave Strangers a chance because there were a couple of scenes when she let her "modern façade" down and allowed her good, old-fashioned acting shine through. When she stopped shouting at her daughter and allowed her heart to break open, it was very effective. She could have adapted to modern times if she wanted to!
Gena's performance used her usual, professional style, and both women put as much into the teleplay as they could. However, the script wasn't as moving as it could have been. It felt like a good skeleton, with the key plot points laid out, but the meat of the dialogue was only just touched upon. It truly seemed like a second draft, with third and fourth ones in progress but not yet typed. The difference between a ninety minute movie and the original six-hundred page novel can be felt in this tv drama. Where's the companion piece we can read to understand the characters better?
If you love Gena, you can rent this one. She's far softer than in some of her other movies like Gloria. In the supporting cast, you'll see Donald Moffat, Royal Dano, and a cameo as a doctor (what else) Whit Bissell.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
